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Tag: Idles

’18 of 18: The Best Songs of the Year

2018 saw more songs considered for coverage at Heartbreaking Bravery than any of the now 5+ years its been in existence. Thousands of tracks were heard and hundreds upon hundreds were mentioned in some way. The 18 selections below represent the best of that crop, while the overall batch holds true to this publication’s mission: to give praise to the under-represented. Nearly half of the tracks selected weren’t released as singles and some still have only been heard a scant few hundred times. Taken as a whole, these serve as a representation of a frequently overlooked slice of 2018’s finest.

Spring Onion – I Did My Taxes For Free Online

While a resurgent Remember Sports had a very strong showing in 2018, the best track to Carmen Perry’s name was through the Spring Onion project. “I Did My Taxes For Free Online” is a bit of rare perfection, tapping directly into the weary malaise of modern young adulthood. A mid-tempo acoustic-driven Americana pop song, “I Did My Taxes For Free Online” is astonishing on both a musical and narrative level, the little flourishes (the banjo, the auto-tone) enhancing an incredibly engaging slice-of-life story that never wears out, no matter how many times its played. In short, “I Did My Taxes For Free Online” is nothing short of a minor miracle.

Young Jesus – Deterritory

In 2012 Young Jesus took a gigantic leap forward as a band with Home, which was the first of their releases to indicate the reach of their outsize ambition. Nearly every release since then, the scope of that ambition has been stretched further as the band’s evolved. The Whole Thing Is Just There, their first true release under Saddle Creek finds the band in their most exploratory mode to date, having morphed into a free-punk band.

Deterritory“, the record’s lead-off single, was a clear indication of Young Jesus’ growth: elements of art-punk, classic emo, and post-hardcore enveloped their early roots to create something singular and breathtaking. No second’s wasted, even when the band embraces improvisation with no reservation. For as loose as some of “Deterritory” may feel, the song’s final 20 seconds are the fiercest and most concise piece of music the band’s offered up to date.

The Little Miss – Take Me, Too

Take Me, Too” is a virtually unknown song from an artist who got next to no coverage for their last record. It’s also one of the year’s best songs and a testament to the fact that PR’s main purpose isn’t inextricably connected to talent or worth. Few, if any, songs to have come out in 2018 hit as hard and with as much unforgiving force as this sparse look at mortality, which welcomes death’s inevitability without resorting to overwrought histrionics.

Tender, empathetic, and knowing,”Take Me, Too” is a song that aches, yearning for resolution while maintaining a grounded, dignified sense of humanity. As a result, the song stands as one of the most unexpectedly breathtaking closing tracks in recent memory.

Trace Mountains – A Partner To Lean On

LVL UP disbanded in late 2018 but at that point, the year had already provided a cushion of hope for the future work of its members with Dave Benton’s project Trace Mountains releasing a career-best work in A Partner To Lean On. The title track of that record finds Benton in vintage mode, opening with a stanza that dives straight into the connection between spirituality and nature.

“A Partner To Lean On” is also an impossible-to-shake mid-tempo toe-tapper that elevates itself by the nature of its own restraint, leaning into intuitive decisions with an infectious confidence that’s rooted in calmness. Clear-eyed and warm, “A Partner To Lean On” winds up as one of Benton’s best songs, putting it in exceptionally strong company.

Whitney Ballen – Black Cloud

You’re A Shooting Star, I’m A Sinking Ship was an absurdly strong debut effort from Whitney Ballen, highlighted by both unexpected turns and a frequently brutal level of emotional honesty. “Black Cloud” provided the record’s apex of both, something that intersected on the song’s early dip into jaw-dropping heaviness. A haunted look back at early warning signs, the song embraces the narrative’s stormy tumultuous nature with gritted teeth and a snarl. Oscillating between pensive and punishing, “Black Cloud” secured a rightful place as one of 2018’s most intentionally jarring highlights.

Dilly Dally – Sorry Ur Mad

Dilly Dally spent 2018 enjoying a resurrection of sorts, having almost hung up their instruments for good while battling internal demons. Heaven, the quartet’s sophomore effort, frequently chronicled the difficult path to their own salvation, resulting in some of the band’s best songs to date. “Sorry Ur Mad” was delivered, arguably, as Heaven‘s centerpiece (in a narrative sense as well as being the album’s halfway point).

A determined tour de force, “Sorry Ur Mad” propels itself forward by virtue of sheer blunt force, the composition ratcheting up the tension with its attentiveness to dynamics, stop/start rhythms inducing a palpable sense of nervous energy. The rare song that manages to increase its grip incrementally up until the breathtaking finale, “Sorry Ur Mad” charts a scrappy path to incredibly memorable terrain.

Fred Thomas – What The Sermon Said

The last three records that Fred Thomas has released comprised a trilogy that contained the best work of the journeyman’s quietly illustrious career. “What The Sermon Said”, the spellbinding capper to an incredible run, found a way to stand out. The song’s first half operates in an explicitly ambient, stream-of-consciousness format before morphing into one of the most devastating narratives Thomas has delivered since the heartfelt eulogy that drove “Every Song Sung To A Dog“.

A seamless transition bridge the two halves, a melancholic saxophone figure being enhanced considerably by a simple, elegiac string arrangement. Thomas spends the song’s final minutes detailing a trip to the chapel, looking for hope and finding nothing but an increasing sense of alienation. “What The Sermon Said” may or may not be a commentary on the difficulty of aging and the challenges it can present or it may just be an unflinching look back at a time of relative desperation but no matter how its viewed, the overwhelming cumulative effect lingers long enough to leave a scar all its own.

Gouge Away – Ghost

Gouge Away‘s most recent work stood out as a career best and saw the band, clearly operating with a sense of invigoration, stretch their range in surprising ways. “Ghost” was the most noticeable evidence, an uncharacteristic — even pretty — slow-burner from the incredibly ferocious post-hardcore act. The song presented something of a risk but paid off with huge dividends, propelling the band’s recognition forward with ease, coming off as something of a victory lap for an incredibly hard-working band that’s deserved more attention from the word go.

Miya Folick – Thingamajig

Trouble Adjusting” served as an introduction-at-large for many to the world of Miya Folick, which flashed a lot of promise in its raw basement pop-friendly aesthetics. Since that song’s release, Folick’s taken a somewhat unpredictable path that’s taken the songwriter to “Thingamajig” a painfully gorgeous ambient pop track that served as the unexpected opener to Premonitions.

Working in a mode that’s reminiscent of Half Waif’s recent body of work, Folick delivers an incredible career best, taking a long, reflective look at autonomy and decision-making that could feasibly double as a thesis statement for what Folick hopes to accomplish as an artist. “Only you know what to do”, the songwriter repeats at the song’s hushed close, infusing the delivery with not just meaning but intent, creating an impression that lets the listener know Folick’s in this until the end.

Evening Standards – Lil Green Man

A ways into the year, Evening Standards quietly released their self-titled debut, which was a near-perfect basement pop album. The record didn’t receive any notices outside of a very niche circle but did make one hell of an impression inside that circle. Formed out of the ashes of site favorites PURPLE 7, the band was already working with a strong pedigree that was evident in songs like the raucous “Lil Green Man”, an absurdly strong track that’s still earning regular spins.

“Lil Green Man” takes an intentionally ridiculous angle to explore an incredibly complex topic, using an alien invasion to reflect on the nature of existence and the meaningfulness of the human experience. Every second of the track’s wildly enjoyable and “Lil Green Man” also benefits from one of 2018’s most explosive choruses, the narrative and composition colliding in a cathartic release that suggests Evening Standards don’t actually care all that much about the answer to the question they’re raising, opting instead to revel in the moment and have as much goddamn fun as possible while they’re in each other’s company.

Cloud Nothings – Leave Him Now

Cloud Nothings returned with a slight lineup tweak once again, doubling-down on Life Without Sounds career summation but combining separate elements of their previous body of work. One of the best examples of their refined approach came courtesy of one of many of Last Building Burning‘s highlight in “Leave Him Now“. The song also separates itself from the band’s past work by containing one of the most emotionally affecting narratives bandleader Dylan Baldi has penned, fixating on a feeling of helplessness as the songwriter begs a friend to escape from an abusive relationship.

There’s an additional edge and urgency that lends itself to the music, Jayson Gerycz’s drumming returning to an otherworldly realm and standing as one of the best individual weapons the rock/punk genre as a whole has to offer. What separates “Leave Him Now” from what many view as a cloying trope is that Baldi never centers himself as a romantic option in the narrative, instead pleading for an unnamed friend to find a place of security and well-being that’s evaded them as they’ve fallen prey to predatory behavior, leaving “Leave Him Now” as one of the band’s strongest overall compositions.

Basement Revolver – Baby

One of the many, many bands that can’t seem to stop topping themselves by wide margins is Basement Revolver, who delivered one of 2018’s most unexpected gut-punches with the aching “Baby“. A song pleading for forgiveness and patience while navigating the internalized fears and trauma that frequently accompany young relationships, “Baby” may have been strong enough to secure a spot on this list by the nature of its deeply human subject matter.

What puts “Baby” well above the cut is its delivery, enhanced in no small part by a chill-inducing arrangement and bandleader Chrisy Hurns’ emotional vocal delivery. On many levels, “Baby” is an absolutely overwhelming listening experience, bordering voyeuristic as Basement Revolved surrenders completely to the apex of the unbridled levels of intense, competing feelings when the problem’s as hard to identify as the solution.

Tomberlin – I’m Not Scared

At Weddings announced Tomberlin as a major voice, which was all but cemented with early single “I’m Not Scared“. A rumination on personal hardships, both arbitrarily assigned and self-inflicted, “I’m Not Scared” was the most unforgiving track on what proved to be a very thematically difficult record. Driven by piano and a restrained string arrangement, “I’m Not Scared” bounces from harsh observations about everything from outside judgment to the physical pain that accompanies bodily function.

To completely bridge the song’s narrative arcing, “I’m Not  Scared” balances those two elements against each other and lets those observations inform a devastating conclusion, summed up by the chorus: And to be a woman is to be in pain/And my body reminds me almost every day/That I was made for another, but I don’t want to know that/Cause it happened once and I always look back. Searing and searching, the song’s painful honesty translates into a major moment for the emergent songwriter.

Big Ups – Imaginary Dog Walker

Big Ups were another band that hung it up (at least for a while) in 2018, going out on the startling artistic high note that Two Parts Together provided. Appropriately the record’s high point was its closer, “Imaginary Dog Walker” something that coincidentally summed up Big Ups’ long-held mastery of creating tension. “Imaginary Dog Walker” had been a highlight of the band’s live set and the studio recording more than does the song justice, using its slow simmer as if they were a set of sharpened fingernails sinking deeper into flesh. No song over the band’s astonishing discography seethed or detonated quite like this one, which sees the band going out on an absolutely extraordinary note and a career best that will be near impossible to top if they ever decide to return. Fingers crossed that at some point, they wind up trying.

Mount Eerie – Distortion

No recent run of songs has been as uncomfortable to listen to as the diaristic work that Mount Eerie‘s released of late, explicitly chronicling Phil Elverum‘s own experiences in the wake of his former wife’s recent, unexpected death. The internal conversation to include any of this work, which is deeply personal, remains. “Real Death” did manage to steal away 2017’s Song of the Year honors but it now has an equal in the 11-minute sprawl of “Distortion“, which is structured like an epic.

Opening with humming washes of distortion, the song quickly sinks into an intricate, acoustic finger-picked pattern and delivers a knockout first stanza:

But I don’t believe in ghosts or anything I know that you are gone and that I’m carrying some version of you around Some untrustworthy old description in my memories And that must be your ghost taking form Created every moment by me dreaming you so And is it my job now to hold whatever’s left of you for all time? And to reenact you for our daughter’s life?

“Distortion” doesn’t let up from that point forward, chronicling Elverum’s travels and real-life confrontations with death, equating the songwriter’s own journey to the beat poets that are referenced throughout the song. It’s an uncomfortable, implicit analogy that grows increasingly real when presented with the context of Elverum’s life. There are moments of bitterness, ugliness, and cruelty that are unavoidable as we fight to find meaning in our lives and Elverum presents that revelation with a commendable directness.

By the time the song comes to its fittingly devastating conclusion, it’s somewhat difficult to return to interacting with personal surroundings. Immensely complex and emotionally draining, “Distortion” has the unique effect of both sapping energy and burrowing into listeners’ consciousness, nestling next to a void that we all have to eventually face and reconcile. Texts like “Distortion” will help with that process when the time comes, making the unthinkably brave work Elverum’s doing incredibly valuable and worth experiencing, especially in moments where it’s of need.

Half Waif – Silt

Lavender represented an inspiring step forward for Nandi Plunkett’s Half Waif project, easily separating itself from a very crowded field to stand as one of the most moving releases of 2018. Informed heavily by a sense of separation (in both a familial and a personal sense), Lavender lands its most memorable knockout blow with “Silt”, which is the kind of track that can make the world stop.

Arriving around Lavender‘s halfway mark, “Silt” opens and closes with gorgeous analog synth tones, book-ending Plunkett’s swan dive into a search for self-worth and reassurance while trying to grapple with an incredibly clouded, distant state of mind. One of the many tracks on this list that benefits from a naked honesty that confronts a damaging impulse, “Silt” finds a way to stab deep into the heart of what it means to be left at a loss. Cold in nature but warm in its delivery, “Silt” is a startlingly potent reminder of Plunkett’s increasing talents as a songwriter.

Long Neck – Milky Way

Jawbreaker Reunion was the first band to push Lily Mastrodimos‘ name to a larger audience but that band supplemented Long Neck, a solo project that’s gradually evolved into a full lineup. Both acts seemed to benefit each other, seeing Mastrodimos’ confidence grow in both settings with the increased recognition. Still, with a handful of songs that were frequently incredible, what Long Neck achieved with Will This Do? came as a surprise, presenting the most direct, confrontational, and brave work of Mastrodimos’ young career.

“Milky Way”, part of the record’s astonishing closing stretch — which still stands as 2018’s strongest end run — was a testament to that growth. Much life Half Waif’s LavenderWill This Do? was shaped by the inevitability of familial death, which is alluded to on “Milky Way”. The song’s foreboding opening breaks into a quick jaunt, oscillating back and forth, centering on a narrative of uncertainty as the makeup of the world changes around the narrator. Frequent reminders to stay awake are issued, while a portrait of grief peeks through the narrative trappings, leading to one of the year’s most emotionally volatile closing sections.

A simple but blistering guitar solo, mired in darkness suddenly surrenders to daybreak once again before Mastrodimos drives “Milky Way” home with an abundance of feeling, conjuring a chilling picture of total, complete helplessness:

Sore feet and sore eyes and it’s nothing, it’s nothing. Echoes in our cave. I sat to watch the sunset and I just fucking lost it. 

The song’s final twist of the knife “And I just fucking lost it” repeats 9 times in total, each instance growing more pained and frantic, louder in its despair, stubbornly resilient as the song deteriorates around the mantra, suggesting that sometimes there is no comfort aside from acceptance and release. One of 2018’s most unforgettable individual moments by miles.

SONG OF THE YEAR

IDLES – Samaritans

Few songs this year hit outward and with as much as force as IDLES‘ seething take-down of toxic masculinity and the cultures that not only encouraged men to be emotionally repressed and overly competitive but allowed it to thrive. A centuries-long cultivation of what it means to be a man was frequently, justly challenged over the past few years with increasing fervor. “Samartians” lends its voice to that fight, railing like hell against a methodology that’s created borderline irreparable damage through a precedent of repression.

Whether that repression’s self-inflicted on an emotional level or maliciously leveled against women in more executive terms, IDLES have every right to be pissed off at the practice. The APA recently released a study backed by 40 years of research that deemed “traditional masculinity” (which was largely built on inherently toxic notions) as harmful. “Samaritans” is a song that’s well aware of its topics nuance and wisely anchors itself with father-sibling relationships, bringing the effect into focus with the absolutely brutal hook This is why you never see your father cry. This is why you never see your father. 

From its incendiary start to its jaw-dropping final section, “Samaritans” seethes to the point of shaking, intense rhythm section sending the song hurtling forward to its punishing finale. Expectations are confronted and stared down at every turn within the narrative (which is further supplemented by the montage video the song was gifted, which can be seen below) as the music provides even more retaliatory purpose.

While the whole song’s worth praising, special attention has to be paid to the song’s final minute, which significantly elevates the song’s intensity after a remarkably beautiful guitar-driven bridge. the song tips over into something sublime as vocalist and principal kicks the song into fifth gear, roaring “I KISSED A BOY AND I LIKED IT”, triggering a musical detonation that may very well have been 2018’s punchiest moment, guitars turning violent and almost staccato as Talbot repeats “This is why, this is why, this is why” before allowing the whole thing to collapse and drift off in smoke, creating a lasting reminder of a reckoning that’s no longer waiting on the horizon.


Further Listening:

Charly Bliss – Heaven | Doe – Labour Like I DoVundabar – Tonight I’m Wearing Silk | Kid Dakota – Keep Coming Back | Lauran Hibbard – What Do Girls Want? | The Royal They – Sludgefucker | Yowler – Where Is My Light? | Sonny Falls – Flies | Deep State – Under the Gun | Rolling Blackouts Coastal Fever – Talking Straight | Canshaker Pi – Put A Record Out | Saintseneca – Pillar of Na | Marbled Eye – Laughing Sound | Swearin’ – Grow Into A Ghost | Yakima – Point of This | Courtney Andrews Marie – May Your Kindness Remain | Billy Moon – White Shoes/Dingus | Stove – Mosquiter | Maxband – Means to an End | Jay Som – Hot BreadEx​-​Vöid – Boyfriend | The Sidekicks – Don’t Feel Like Dancing | Adrian Teacher and the Subs – Pop Medicine | Pile – Cup | Many Rooms – Which is to Say, Everything | Black Belt Eagle Scout – Soft Stud | Mike Krol – An Ambulance | Squid – The Dial | The Knees – Stammer | (SANDY) Alex G – Fay | Fenne Lily. – On Hold | Liza Anne – Small Talks | Mo Troper – Never Dream of Dying | Stef Chura – Degrees | Fog Lake – California | Katie Preston – The Art of Falling Apart | Goon – Enter Bethel Admissions | Paul de Jong – You Fucken Sucker | Remember Sports – Up From Below | Jack Symes – Cool God | Sharkmuffin – Your Stupid Life | Juan de Fuca – A Place to Wait | Closet Goth – Touch Myself | Pip Blom – Come Home | Hit Bargain – Capitulate | Joe Pera – Warm Apple Night | bed. – Replay | Washer – Super Pop | Annabel Allum – Rascal | Bent Denim – Chasing Catherine | Mutual Benefit – Storm Cellar Heart | Gabby’s World – Winter, Withdraw | Say Sue Me – Coming to the End | Maria Kelly – Small Talk | Yowl – Warm (in the Soft White Light of Modern Living) | Birds In Row – 15-38 | Lonely Parade – I’m So Tired | Ovlov – Spright | Nano Kino – Sick Dreamer | gobbinjr – Afraid of Me | Grouper – Driving | Petal – Better than You | Yours are the Only Ears – Fire in my Eyes | En Attendant Ana – Night | Jonathan Something – Fine | Sean Henry – The Ants | Curling – Still Green | Yumi Zouma – France (Grande Boulevards) | LVL UP – Orchard

’18 of 18: The Best Music Videos of the Year

Just under a full week into 2019 doesn’t seem like much but it affords time to go over what all of 2018 has to offer, right up until midnight on December 31. It’s a method that also provides room for close examination of the year’s finest releases in each major category (songs, music videos, and albums). While it’s literally impossible for any one person to hear or see every single release in those formats, a focus should be given to the best of what’s been experienced. Thousands of music videos made their way through the Heartbreaking Bravery channels, these 18 selections found ways to stand out from the pack.

Anna Burch – With You Every Day

Ever since the music videos for Anna Burch‘s gorgeous Quit The Curse started rolling in, there was a unified visual aesthetic. It’s a point that was strengthened with the release of “With You Every Day”, which finds Burch eschewing some of the sunnier palette tones to lean further into a ’90s art world sensibility. More than that, “With You Every Day” wisely refocuses from underlining Burch’s carefree tendencies to zero in on the sheer joy that’s evident in the emergent songwriter’s live performances. Tied together, those elements make for a mesmeric video that comes off as unabashedly honest, leading to another quiet triumph for Burch.

Car Seat Headrest – Nervous Young Inhumans 

It’s next to impossible to talk about Car Seat Headrest‘s “Nervous Young Inhumans” without mentioning that the song’s chorus is a fucking monster. A reworked full band version of one of Will Toledo’s most celebrated solo releases, the video was used — and used extremely effectively — to tease the total overhaul of Twin Fantasy. Visually striking and teeming with meaning, the side-by-side widescreen clip lays out everything you’d expect from one of the decade’s more discussed breakout acts: tongue-in-cheek humor, wry witticisms, a clear level of self-awareness, and enough artistry to dispel any notions of being effete.  While some might find the act cloying, the self-directed “Nervous Young Inhumans” video goes all in on just about every one of the band’s aspects and winds up as one of the band’s most definitive individual release to date.

Phoebe Bridgers – Scott Street

Phoebe BridgersStranger In the Alps proved to have quite a bit of staying power through 2018, with the record spawning a few widely-circulated music videos well afters its initial release. Far and away the most moving of that selection was the restrained, lovely clip for “Scott Street”. The premise of the clip’s simple enough: several people dress up as Phoebe Bridgers and enjoy a day out together, riding mechanical bulls, taking to a trampoline park, and taking a bus to some unknown destination. All of it’s lensed tenderly, letting a palpable sense of affection become the clip’s defining element. When Bridgers herself finally makes an appearance in the clip’s final stretch, there’s a surreal emotive heft to the gesture that propels “Scott Street” from being great to being unforgettable.

Sean Henry – The Ants

The Ants” stood out on Sean Henry‘s latest release, Fink, and was rightfully tapped for a music video. The visual treatment the song’s given plays into the song’s enigmatic nature, positioning Henry front and center, following the songwriter’s trip through NYC in costume store vampire teeth. Nervous tension and general mischievousness collide in an unexpected way, rendering the core narrative of “The Ants” oddly gripping. Aided by some stunning cinematography, “The Ants” becomes a fascinating journey on multiple levels that pull the viewer deeper into a world that’s more concerned with presenting questions than providing answers outright.

Casper Skulls – Colour of the Outside

From a beguiling, extended introductory sequence, “Colour of the Outside” takes great pains in comprehensively immersing its viewers into the world it places Casper Skulls. Softly lit and bathed in ghostly blue hues, the first half of “Colour of the Outside” provides a tug-and-pull between competing sense: familiar comfort and an unsettling tension that grows in small increments. Eventually, that dichotomy detonates as a huge portion of the set falls away and the band’s revealed to be playing in a basement. The light increases, objects get smashed, and the spell manages to find a route to amplification, lingering as the song dissipates amidst a haze of feedback. A deceptively clever clip, “Colour of the Outside” also manages to be strangely powerful.

Haley Heynderickx – No Face

Haley Heynderickx’s “No Face” is one of a handful of clips on this list that took a simple premise and executed it with panache by Evan James Atwood, leading to surprisingly memorable results. A stop-motion video that puts Heynderickx in full silhouette, “No Face” uses static framing to perfection. Consisting of no more than Heynderickx miming along to the song and another pair of hands for some additional meaning, “No Face” is a testament to what anyone can achieve with a shoestring budget. A million frames can make up an incredible picture, even when the images barely differ. An inspired — and inspiring — work from a deserving breakout artist.

Swearin’ – Grow Into A Ghost

One of the most heartening things about a year that didn’t always have a lot of those on hand was the return of basement pop legends Swearin’. Select orders of their first record after reuniting came with a version of 3D glasses that’d been relegated to a curious footnotes in the annals of film history. A fun gimmick on the surface was provided some extra weight with a pair of videos with “Grow Into A Ghost” becoming a genuine standout. Embracing a ’50s aesthetic and the stoic sensibilities of the era, Swearin’ have all sorts of fun with the animation integrated into a modernized strain of an updated technology. “Grow Into A Ghost” was the perfect reminder of what we’ve been missing.

Lucero – Long Way Back Home

Jeff Nichols is one of the most talented filmmakers working today. His collaborations with Michael Shannon have yielded countless accolades and an overwhelming amount of acclaim. Nichols’ brother, Ben, also happens to front Lucero, who have provided a few songs to those films. The brothers Nichols and Shannon team up once again for this short film set to Lucero’s “Long Way Back Home”, teeming with the quietly desperate rural lyricism that’s flickered away in the core of the trio’s work for years. A few more notable actors make appearances in a narrative that keeps the viewer in a vice-like grip up until the ambiguous final moments. While there’s no clear resolution, “Long Way Back Home” is a ride worth taking.

Mitski – Geyser

While the Christopher Good-directed clip for “Nobody” makes appearance after appearance — and deservedly so — on The Best Music Videos of 2018 lists, it’s also worth taking a look at the clip that preceded that one, “Geyser”. A gorgeous tracking shot on a desolate beach follows Mitski as the songwriter mimes the words to “Geyser” before abandoning that conceit entirely, fleeing the camera and collapsing onto the shore, writhing around in a place between catharsis and desperation, pointing to the sheer nakedness of the work on Be The Cowboy. A huge moment for both Mitski and filmmaker Zia Anger.

Iceage – The Day The Music Dies

Iceage and Graeme Flegenheimer teamed up for “The Day The Music Dies” video, which finds the post-punk act tapping into a strain of Southern Gothic visuals once again, producing a series of visuals that immediately register as formally classic, bringing to mind cinematographer Robert Elswit’s work on There Will Be Blood. “The Day The Music Dies” is flooded with iconic imagery but for all its formality, there’s a very evident sense of playfulness coursing through the clip. Tongue-subtly-in-cheek — check out those borderline nonsensical breaks for the car commercial shots — and fiery as hell, the clip’s a very strong example of how abandoning reservations can significantly elevate the material.

Noname – Blaxploitation

A cutting, socially conscious work from Noname, “Blaxploitation” leans hard into metaphor and film history. Taking its cues from the monster film genre, “Blaxploitation” depicts a young black child navigating a model set. Framed as a towering monster, the subject explores the small neighborhood, clearly innocent despite striking an imposing figure, relative to the setting. Tragic for all of the typical, endlessly frustrating reasons, Alex Lill’s video for “Blaxploitation” is every bit as thoughtful as the record on which it resides. Hypnotic and incredibly pointed, “Blaxploitation” is very clearly not just among the finest music videos but the visual format as a whole.

Lonely Parade – Night Cruise

Night Cruise” was the first of Lonely Parade‘s releases to get a huge push and that attention couldn’t have come at a better time. Released in advance of one of the year’s best records, the clip ably demonstrated the band’s identity. Soft strobes of neon hues, softer saturation levels, and some clever one shots cut to the core of the band’s confrontational sensibilities. “Night Cruise” showed that Lonely Parade know exactly who they were and exactly what they were about while still managing to be visually hypnotic. Easily one of the year’s best hangout clips, “Night Cruise” marked the arrival of a band whose career promises to be worth following.

La Dispute – Rose Quartz / Fulton Street I

La Dispute made a return in the year’s final month, unveiling the startlingly intense animated clip for “Rose Quartz / Fulton Street I“. A fever dream narrative plays out in the clip, which centers around a car colliding with a deer on the road. Psychedelic imagery swirls around this event, which plays out more than once, lending additional meaning to the event. There’s an impact, things are altered, objects are wrecked, but there’s a beauty that undercuts the despair, reminding the viewer of life’s fragility as much as its inherent tenderness. “Rose Quartz / Fulton Street I” is an astonishing work that may just be the band’s finest release to date.

Mozes and The Firstborn – Hello

For all the serious subject matter that tends to dominate these types of lists, there are moments of lightness to be found and celebrated. For instance: Mozes and the Firstborn‘s humorous, lighthearted clip for “Hello“. It’s an exceptionally simple premise that’s executed to perfection and imbued with genuine joy. One tracking shot keeps guitarist/vocalist Melle Dielesen front and center, surrounded by a marathon that was taking place in real time. Layers of clothing are shed, several with song-specific message scrawled or printed on them, a cigarette gets smoked, and the song is mimed while runners react to Dielesen’s tongue-in-cheek antics. Easily 2018’s most outright fun video.

Dusk – Leaf

Finn Bjornerud has long been Tenement’s go-to music video director and continues to work with the members’ other projects. As good as some of the Tenement clips have been, Bjornerud hits a career high by some margin with the breathtaking video for Dusk‘s “Leaf“, which remains one of the best songs of the present decade. The song itself lends an additional potency to Bjornerud’s signature camera movements but also forces the camera to stay relatively still, fixating on the mundane details of winter life in the upper Midwest: the boots in the snow, clothing layers being shed, a flock of geese taking off from a snow-capped field. Tethering in a quiet, loving relationship between two people finding ways to celebrate their continued survival gives “Leaf” another empathetic layer that’s strong enough to ensure its rightful place on this list.

Fog Lake – Push

Some of 2018’s most brilliant editing work in a music video came courtesy of Noah Kentis’ twisting, multilayered visual for Fog Lake‘s “Push“. The first of a series of intentionally blurred smash cuts hits at just after the minute mark and every time is startling and powerful enough in its execution to warrant chills. No matter how many times its replayed or used, there’s a singular perfection to the framing and implementation that’s enough to knock a viewer out. As the Charlie Kaufman-esque narrative of “Push” unfurls, there’s a deepening sense of mystery inextricably tied to the ambiguity that characterizes the clip’s final moments. A masterclass in composition and editing, “Push” also stands tall as one of the most mesmerizing videos to have come out over the past handful of years.

IDLES – Danny Nedelko

For some reason or another, white supremacists started using the okay sign as a “covert” way of communicating their reprehensible ideology. Since they’re terrible at everything, the general public discovered what they were doing right around the time it started happening. Enter: IDLES, the band who made 2017’s best music video and missed that title this year by a hair. “Danny Nedelko” a standout track from Joy As An Act of Resistance was a song explicitly about their friend, an immigrant. The black-and-white video follows Nedelko through a series of vignettes, meeting up with other immigrants while dancing, laughing, and flashing the okay symbol with a sheepish grin. It’s a pointed missive of reclamation that’s framed with a welcome level of affection for its subjects. Joy As An Act of Resistance indeed.

MUSIC VIDEO OF THE YEAR

Hop Along – How Simple

Every publication told its readers the same thing at the end of 2018, which was destined to be a certainty from the moment of its release: the music video that defined the year was Hiro Murai’s astonishing clip for Childish Gambino’s “This Is America“. While that video more than deserves all of the praise its received, the aim of this site is to shed some more light on what’s flickering away in the shadows, which brings us to Hop Along‘s incredible video for 2018 highlight “How Simple.”

The first image of Derrick Belcham’s video for “How Simple” is a spotlight, centered on an unopened door. As a visual cue, it’s deceptively striking and open to many valid interpretations but it’s an image that only lingers for a few second as guitarist/vocalist Frances Quinlan seizes that spotlight and turns in a tour de force performance as the clip’s central subject. Exuding classic Hollywood charisma, bringing to mind the likes of Audrey Hepburn, Olivia de Havilland, and Jean Simmons.

Quinlan’s an inherently magnetic presence on stage (and in studio) so it’s not a surprise the wildly gifted songwriter dominates nearly every frame of the “How Simple video, which is perhaps a calculated outcome for a narrative so heavily centered on personal identity. There’s an incredible emotional spectrum on display here with Belcham leaning hard into Quinlan’s facial expressions, which tell a story all their own.

“How Simple” is an incredible journey that’s gifted an incredibly appealing setting as its story unfurls, navigating everything from shame to resentment to anger to acceptance to celebratory self-reconciliation. Wisely making its home in the mundane nature of every day existence, “How Simple” cuts to the root of several hard-won realizations. By the clip’s purposeful resolution is revealed, Belcham’s ensured a moment of appreciation for a quiet triumph of perseverance, putting one last piece of finite punctuation on the best music video of 2018.

 


Further Watching: Peach Kelli Pop – Drug Store’s Symbol of Happiness | Lemuria – Kicking In | Advance Base – Your Dog | Dilly Dally – Doom | Pedro The Lion – Yellow Bike | Vundabar – Acetone | Hala – Sorry | Free Cake For Every Creature – Be Home Soon | Slothrust – Double Down | Onlyness – Comfortable | Deaf Wish – FFS | Spirit Was – Golden Soul | Harry Permezel – Wax Man | Alien Boy – Somewhere Without Me | The Magic Gang – Getting Along | Shame – Lampoon | Clearance – Had A Fantastic | Amos Pitsch – Piece of the Season | illuminati hotties – Cuff | Snail Mail – Heat Wave | Courtney Barnett – Charity | Lauren Hibbard – What Do Girls Want? | Tomberlin – Self-Help | Homeboy Sandman & Edan – The Gut | sewingneedle – Feel Good Music | The Beths – You Wouldn’t Like Me | Zuzu – Can’t Be Alone | Flasher – Material | The Glow – Beamer

IDLES – Great (Music Video)

It’s been a while since anything went up on these pages and there are a lot of reasons behind yet another interim but, as ever, the work continues to be done behind the scenes. Five posts were scheduled to go up before that break and will be going live today. This is one of those posts.

IDLES are on the verge of releasing a legitimate Album of the Year candidate in Joy As An Act of Resistance, a profound protest record with a borderless message that’s resonating deeply in an especially volatile political climate in major countries across the world. Last year, the band released what this site would eventually name the 2017 Music Video of the Year in “Mother” (which remains one of the best clips of the decade) and have a genuine shot at repeating being granted the honor of that distinction this year with the feel-good reclamation of “Danny Nedelko“.

“Great” is the fourth music video to arrive from IDLES this year and continues an unparalleled run of brilliance in the format since the release of “Mother”. Directed by Theo Atkins, “Great” may be the most straightforward clip from the band’s present album cycle, consisting of alternating shots between moments of common, everyday life and live performance. Edited together, “Great” effectively underscores the declaration that comes at the end of the song: “because we’re all in this together.”

IDLES is a band of the people, for the people. They seethe, they rant, and they provoke, but they always get their point across. We’re all embroiled in fights that extend far beyond ourselves, making calls for unification, reminders of positive self-worth, and a willingness to demolish outdated ideals in the pursuit of progress monumentally important. “Great” is the kind of warning shot that sends an abundantly clear message of prioritizing empathy, inclusiveness, and community, which is a message that this site will stand proudly behind.

Listen to “Great” below and pre-order Joy As An Act of Resistance here.

IDLES – Samaritans (Music Video)

There’s a very real chance that IDLES might wind up sneering and snarling their way into a handful of coveted Album of the Year slots with their forthcoming Joy As An Act of Resistance. Virtually everything the band’s done ahead of the release has been nothing short of incredible, from pointed push backs to xenophobic sentiments and stolen gestures to the measured sprawl and slow-burning intensity of a frustration framed in 4:3.

The quintet’s latest unveiling, “Samaritans”, finds the band relentless attacking toxic masculinity to staggering effect. While there aren’t a lot of problematic sociopolitical topics that richly benefit from being led by white men, toxic masculinity is one that definitely qualifies. Having a vocal guidance that comes from men who look tough and present in a traditionally masculine way is a way that can cut through a very tired form of presumption with an exacting precision that sometimes finds a way to tower over the interfering noise.

To that end, “Samaritans” isn’t just powerful but deeply important. IDLES have been making their name on relentlessly aggressive hardcore-adjacent punk that fearlessly invokes progressive politics. To put it as bluntly as possible, IDLES could very well be the most important punk band on the planet. We don’t need men — especially white men — to control and lead conversations about every aspect of sociopolitical regression but to have some who are legitimately enraged by those instances, who are lending both their voice and platform to a way that meaningfully addresses societal ills is vital; this is the space where IDLES are making their presence felt.

“Samaritans” is as necessary as anything in IDLES’ discography thus far, driven by venomous bite and loathing for a status quo that shouldn’t exist — a fact driven home by the video’s presentation of stock footage, a stark reminder of toxic masculinity’s insidious totality. This is why you never see your father cry / this is why you never see your father is the unforgettable hook that informs a song that’s been constructed by history and given extra weight by the tumultuous nature of what that history has entailed. Everything here, as is typically the case with IDLES songs, carries the scars of experience. They’re also buoyed by an increasing prominence in modern opinion that things like toxic masculinity deserve a beheading.

When the guillotine drops, those sharp edges are felt. Not necessarily by the victim but by those who bear witness. IDLES have crafted their own version of that weapon with “Mother” (Heartbreaking Bravery’s Music Video of the Year for 2017), “Colossus”, “Danny Nedelko”, and a handful of others. “Samaritans” is just the latest addition to the list. While the things that are stirring up the inspiration for IDLES’ narratives may still find ways to attain prevalence, don’t expect the band to step away from a fight; this is music that’s already been bathed in blood.

Watch “Samaritans” below and pre-order Joy As An Act of Resistance from Partisan here.

The Best Music Videos of June’s First Half

The first half of June came equipped with a lot of outstanding material but the strength of its best music videos were especially notable. There’s a strong chance that IDLES land themselves a repeat spot in the year-end best-of rundown, following their Music Video of the Year turn in 2017. There’s also a reasonable chance that at least one other clip from this list joins them in those rankings. As of now, that’s all still speculation but it’s worth noting for the sheer strength of impact. To find out a little more, scroll down, keep your eyes peeled, and keep your ears open.

IDLES – Danny Nedelko

Last year’s “Mother” was an absolute masterwork of a music video, going a ways in helping IDLES launch a burgeoning career. Easily one of the best protest songs of this current decade, “Mother” now has an equal in “Danny Nedelko.” As has been the case with virtually every IDLES clip, this one surges with purpose as its titular character takes a central role, dancing, smiling, and flashing an OK hand symbol that was co-opted by white supremacists in an act of joyful resistance. It’s remarkable, pointed, and adds an additional level of potency to an already formidable discography.

Lonely Parade – Night Cruise

One of the most recent additions to Buzz Record‘s already stacked roster, Lonely Parade have made no bones about establishing their stake in that field. Their most recent showing came by way of the music video for the unwieldy “Night Cruise.” Stylish, vivid, and executed with unnerving precision, “Night Cruise” comes off like a warning shot. A series of odd angles, clever pans, and sharp editing play into a digital film palette that make the band’s sense of identity a focal point. Smart, measured, and playful, “Night Cruise” is a promising look into Lonely Parade’s future.

Shy Boys – Take the Doggie

There are a few constant truths in our lives. Shy Boys took one of those truths and embraced it wholeheartedly, gifting us a playful, dog-driven music video that’s as open-hearted as it is endearing. Throw in a twee-leaning powerpop song, some lyrics running across the bottom of the screen, and a whole collection of clips cut together into a comprehensive whole and “Take the Doggie” reveals itself to be as winsome as its opening seconds suggest.

Deaf Wish – FFS

The second black-and-white clip on this list, Deaf Wish‘s “FFS” uses the formula as a means to strengthen its directness. Jensen Tjhung and Daniel Twomey take the directorial reigns and lean into the framing, creating stark imagery that pays tribute to some iconic shots from the rock photography canon. The editing heightens “FFS”, creating sync’d segments that play into the clip’s sense of augmented reality. Engaging and expertly crafted, “FFS” is a reminder of how classical styling can benefit from modern advancements.

Tomberlin – Self-Help

Saddle Creek‘s latest addition, Tomberlin, gave a mesmerizing introduction-at-large with the hushed, haunted “Self-Help”. Directed by Laura-Lynn Petrick, the clip presents Tomberlin awash in a sea of sea creatures, suggesting a parallel to the narrative of “Self-Help”, searching for a place in a space that’s built for you but still feels removed. It’s that distance that “Self-Help” is imbued with that defines both the song and the clip, conjuring an eerie parable that’s hard to shake on either end. Thoughtfully crafted and tenderly delivered, it’s a captivating glance at an artist worthy of knowing.

A Look Back at The Past Two Weeks (Streams, Music Videos, and Full Streams)

Over the past two weeks, not a lot of content has been published on this site. Behind the scenes, though, quite a bit of it was being collected. Time and travel constraints (everything from working full-time to keeping an apartment clean to seeing and playing shows) can make it difficult to keep Heartbreaking Bravery on a daily track. Still, it’s something that does carve out a section of my day every day and, when things go right, the daily posting schedule is still the route that I’d like to achieve (and this is a publication that’s entirely managed by a single person).

It’s a lot easier to keep this thing on schedule when it’s caught up to the current release cycle, which will occasionally necessitate recaps and lists. Don’t let the impersonal nature of these instances detract from the value of what’s on display; all of these links are worth exploring. If I could give them all features, I would. Unfortunately, that’s a logistic impossibility. Everything below, as stated, is worth a click. These past two weeks have been riddled with great items, dive on in and give some of them the attention they deserve.

Streams

Blushh, Tanukichan, Petal, Kevin Krauter, Why Bonnie, WorriersTrü, Kin Hana, Slowcoaches, Draag, Campdogzz, Tancred, Johnny Goth, Henrik Appel, My Pleasure, Post Pink, Self Defense Family, Vamos, Jackie Lain, DitchesFrøkedal, Cowboy Junkies, Glass Famine, Les Big Byrd, Runtom Knuten, Bad Bad Hats, Young Widows, Barrie, Trevor Powers, Wild Pink, James Blake, Sudakistan, Pllush, Deaf Poets, LUMP, RVG, Minor Moon, Mommy Long Legs, Lost Boy ?, Character Actor, Elise Davis, Goosebump, Jenn Champion, Masayoshi Fujita, New Spell, El Ten Eleven, Goon, Crooked Teeth, God Bless Relative, Late Bloomer, Guts Club, June Gloom, Kevin Devine, R+R=NOW, L.A. Girlfriend, The Innocence Mission, Batz, Darling James, Eric Benoit, The Fourth Wall, LT Wade, and Ness Lake.

Music Video

Tmboy, IDLES, Falcon Jane, Keith Secola, The Goon Sax, Wild Moccasins, Dott, Bodega, Wilder Maker, Astral Swans, The Armed, Phil Cook, Wimps, Mute Swan, Wolf Alice, Liars, Jess Ledbetter, Mary Lattimore, Ezza Rose, Cassels, Deer Tick, The Menzingers, Damien Jurado, Snakeskin, Brooke Annibale, Grapetooth, Death Grips, Cellus Hamilton, Jenny Hval, Subsonics, The Get Up Kids, Wooden Shjips, Jessicka, Modern Leisure, and a short film from Hurray For The Riff Raff.

Full Streams

Psychic Flowers, Richard Edwardsgobbinjr, Jamison IsaakRemission, Beach Skulls, Numb.er, American Pleasure Club, Pet Symmetry, Mostly Mallards, Jenny Hval, Temporary Eyesore, Ocean Hope, Svalbard, and Sex Scenes.

17 of ’17: The Best Songs of the Year

2017 was a staggeringly balanced year in terms of memorable musical output. To honor that consistency, the typical run of 17 songs will be complemented by a list — in no particular order — of 83 other great songs to find release throughout the year. As usual, the “best” tag simply acts as shorthand for the music I was fortunate enough to consume from January through December, which had an individual song list that tallied well into the quadruple digits.

Names that are already familiar to year-end lists on this publication reside comfortably alongside artists who are still looking to make a larger impression. Non-singles are included with some of the year’s strongest advance tracks and songs that tip towards hardcore rub shoulders with some quiet basement pop numbers. There’s a lot to contemplate — both inside and outside of the top 17 selections — and even more to celebrate.

These are the 17 best songs of 2017.

Enjoy.

Great Grandpa – Teen Challenge

One of the great album openers of 2017, “Teen Challenge” reintroduced a noticeably more explosive version of Great Grandpa that wasn’t afraid of hairpin turns or controlled catharsis. From the outset of “Teen Challenge” the band is swinging for the fences but it’s not until the enormous final section where something deeply impressive transforms into something legitimately inspiring. It’s a celebratory song that comes loaded with conviction and is delivered with the type of determination that refuses to be held back.

Mo Troper – Your Brand

One of this site’s picks for last year’s Album of the Year honors, Mo Troper returned this year with two records. One, a collection of older material reworked for Troper’s current band, the other, an inspired effort of new material that saw Troper expanding his ambitions to legitimately unexpected degrees. The elevation of both songwriting and production on Exposure & Response is particularly evident in career highlight “Your Brand“, which finds Troper turning his gaze towards the brand-obsessed inhabitants of social media, people who treat themselves as corporate entities and flaunt varying levels of entitlement.

Occasionally, those same denizens find the levels between tongue-in-cheek mockery and unwitting sincerity blurring into an unrecognizable definition. It’s a richly-deserved skewering that’s shot through with a resigned understanding. The tasteful string and brass arrangements that adorn “Your Brand” send the song to euphoric heights even as Troper is weighed down in the bog of a tragicomic reality. It’s a masterful outing that positions Troper as one of the most promising pop songwriters of this generation.

Cende – What I Want

Cende‘s first and final full-length effort was an enticing effort headlined by a slew of singles that all warranted consideration for placement on this list (and earned individual write-ups). None of them wound up impressing quite as deeply as the song boasting the record’s most challenging — and towering — arrangement, the Greta Kline-featuring “What I Want“. Falsettos, a lilting string arrangement, and an incendiary bridge showed off Cende’s formidable range, tilting from something approaching the saccharine to a vicious instrumental outburst at the click of a hi-hat.

Charly Bliss – Westermarck

Few bands have earned as much attention and praise from this site as Charly Bliss over its four-year existence and it was heartening to watch the band break out in 2017 with one of the year’s most affirming releases in Guppy. While every track on that record is noteworthy for one reason or another, it was “Westermarck” that kept revealing deeper facets of itself. A rousing meditation on uncertainty couched in an unapologetic joy of simply being alive, the song became an unlikely anthem for anyone questioning their partner’s motives (especially in significantly skewed familial setting).

Common Holly – Nothing

Tender, sparse, and wrought with longing, Common Holly‘s “Nothing” proves how adequately minimalist formulas can maximize difficult emotions. It’s a bare-bones run through a personal affirmation, rendering something that appears delicate at first blush searing at second glance. More than that, “Nothing” introduces Common Holly as a deceptively powerful artist with the capacity to deliver breathtaking turns in the quietest rooms.

Weaves – Puddle

Riding a wave of critical adulation and having earned the respect of their contemporaries, Weaves returned in 2017 with Wide Open, an aptly named run that they billed as their Americana effort. While the record takes a lot of notable cues from that genre, the band’s wildly erratic, genre-obliterating core remained intact with the barn-burning closer “Puddle” acting as the clearest indication that the band’s unpredictable firepower was still fully intact.

Fred Thomas – Misremembered

Following a record as momentous as All Are Saved will always be a difficult task but to surpass high expectations in the way that Fred Thomas managed with Changer is a rarity. From the record’s dynamic opening track, Thomas proves to be more focused than ever, spinning barbed tapestries of lived-in realism with unmatched verve. “Misremembered” isn’t just a testament to Thomas’ lyricism, either, the fiery music that serves as its backdrop propelling it to stratospheric heights.

Big Thief – Breathe In My Lungs

A lot of outlets gave Big Thief‘s breathtaking “Mary” a deserving amount of love, ranking both the song — and the record it resides — as the year’s best. Meanwhile, the band’s devastating B-side, “Breathe In My Lungs”, flew under the radar. As is often the case with bands as prolific and talented as Big Thief, “Breathe In My Lungs” is so much more than just a castaway or afterthought, it’s one of their most heartrending numbers, expertly using the considerable weight of guitarist/vocalist Adrianne Lenker’s singular voice to turn in some of the year’s most unforgettably damaged romanticism.

Cayetana – Bus Ticket

2017 saw a very large handful of bands taking the next step in their evolution but few seemed to take their strides forward with as much assurance as Cayetana, who zeroed in on what’s long been the crux of their songwriting: mental health. No song conveyed this more than their staggering “Bus Ticket“, which saw the band slowing the tempo and accelerating the force the trio’s always put into their compositions. Managing to be direct and atmospheric simultaneously, “Bus Ticket” stands proudly as a career high for a band that’s found their voice.

Yucky Duster – Elementary School Dropout

One of the year’s most unabashedly exuberant records came in the form of Yucky Duster‘s latest EP, Duster’s Lament. Headlined by the effusive “Elementary School Dropout”, the band offered up an irresistible slice of joyful basement pop that grounded it’s more playful elements with some effective self-deprecation. Expertly toeing the balance between the light and the bleak, “Elementary School Dropout” stood out as 3 of 2017’s most outright fun minutes in a year where that sort of thing was desperately needed.

Strange Relations – Say You

One of the boldest re-introductions of 2017 came by way of Strange Relations‘ enormously confident Editorial You, which was teeming with memorable bursts of icy post-punk that saw the band considerably elevating their grasp on composition. One of the most significant individual outings for the project comes on the record’s second track, “Say You“, which conjures up a steely demeanor and enhances it with fiercely jagged musical interplay. Both minimalist and towering, it’s an obscenely impressive song from a young band that seems determined to continuously reach for greater heights.

Covey – Call Home

There were a lot of songs that came out over 2017’s 12 months that occupied a similar space as Covey‘s “Call Home”: laid back, lovely, unassuming, and tinged with regret, loneliness, and despair. None of them wound up staying the way “Call Home” managed to stay; the song’s melodies and gorgeous chorus humming along and dominating unexpected spaces of memory when it could’ve just as easily rescinded into oblivion. Every return listen offered a new take and at some point, the song migrated from being a pleasant curiosity to something far more essential: one of the year’s best.

IDLES – Mother

Recently given Music Video of the Year honors, IDLES‘ “Mother” also comes off as a ferocious head-turning effort when stripped from its hyper-intense visual accompaniment. Vocalist Joe Talbot repeats several mantras throughout “Mother” — written as a tortured tribute to his own late mother, whose portrait graces the record’s cover — each of them decrying two evils: one political, one sexual, both too frequently intertwined into a nightmarish whole.

Viciously opposed to a system that uses a weighted system to the benefit of the people who are afforded privilege, the song is a startling reminder of the seething anger and frustration of the people who oppose those systems. It’s a clarion call delivered with an excess of venom, using it’s hardcore leanings to drive a message home hard enough that the ramifications of our choices are left lingering in the smoke.

Palehound – If You Met Her

A beacon of consistency over the past several years, news of a new Palehound record was welcome when it was first announced. The first few singles were packed full of the band’s usual tricks but then “If You Met Her” arrived and decimated everything. A hard-hitting look at how the loss of someone you know can affect your own perception of what it means to die, “If You Met Her” immediately registered as not just Palehound’s darkest effort but the project’s best as well.

It’s a gripping, grounded meditation on life itself and it’s delivered with such empathetic understanding that it’s nearly impossible to listen to the song in full without running through an avalanche of feeling. Anything that inspires that level of emotional response and visceral reaction is worth noting — and in the case of “If You Met Her”, it’s more than worth celebrating.

Young Jesus – Feeling

A longtime staple of this site’s coverage, Young Jesus have continuously found exciting ways to evolve as a band in the face of a slew of obstacles that leave lesser bands stumbling. From nearly complete lineup shifts to a refocused experimentation to a relocation that took them from the upper Midwest to the West Coast. The band’s latest effort saw a quick self-release suddenly disappear only to be re-released shortly after by Saddle Creek.

All it takes to understand why such a revered label would take on the band is one listen to “Feeling”, a sprawling 10-minute opus which beautifully showcases the band’s remarkable range, guitarist/vocalist John Rossiter‘s penchant for blending memorable poetry with unforgettable melody, and a growing fearlessness. It’s a heart-stopping moment on what remains one of 2017’s most woefully overlooked records and reaffirms Young Jesus’ place as one of today’s best bands.

The Magic Lantern – Holding Hands

Easily one of 2017’s outright loveliest moments, The Magic Lantern‘s “Holding Hands” casts a spellbinding magic all its own within its opening figures, as a yearning vocal is laid on a bed of gentle saxophone figurines. As the notes and vocals hold — with as much purpose as the imagined goal of the narration, no less — the song winds up with enough power from two core elements to elicit chills.

When the body of “Holding Hands” takes shape as the drums kick in, providing yet another one of 2017’s most perfectly-realized moments, it becomes abundantly clear that something miraculous is happening on the track. By the time it all winds to a ghostly close, “Holding Hands” has left a mark that deserves to be called upon fondly in the days to come. In all of it’s warmth and care, “Holding Hands” pushes forward from a simple greatness and achieves something far closer to transcendence.

SONG OF THE YEAR:

Mount Eerie – Real Death

When Mount Eerie‘s “Real Death” first arrived, it was set to get a standalone feature. That post never arrived as I personally struggled with the decision to attempt to bring any sort of discourse to something so nakedly personal, which held true for A Crow Looked At Me (the record it’s from) as well. As time passed, that decision lingered, though it became increasingly difficult to listen to both the song and the record, famously written about the death of the songwriter’s wife and recorded in the studio she’d built in their house, on the instruments she left behind.

Even without being able to listen to the song, the memory of the song stayed as strongly as the feelings that accompanied the first listen (as well as the subsequent ones). It’s the sound of Phil Elverum tearing his own wounded heart out of his body to present to the world so that they can understand what kind of grief accompanies something so tragically world-shifting.

While every moment of “Real Death” is shattering, the weight of it becomes nearly unbearable when Elverum shifts the lyrics from oblique poetry to a hyper-specific narrative, recounting one moment of singular heartbreak that arrived with a package that has late wife had secretly ordered for their daughter. In that retelling, Elverum envisions his wife, living with the knowledge that her wife would be ending, thinking ahead and wanting to provide comfort for the people she loved.

Not only does that specific moment touch upon why Geneviève was someone he loved so fiercely but, in doing so, provides the song’s listeners a glimpse into her character as well. It effectively shifts the tonality of the record even further toward heartbreak by painting such an intimate portrait, making “Real Death” come across as even more unmistakably, painfully human. It’s a tribute to an artist that so many of us wish we knew and stands as a stark reminder to cherish the ones we do know while we can and to strive to match their gifts with our own.

By positing real-life implications alongside meaningful execution, “Real Death” became something much larger than the sum of its parts. In plumbing the depths of personal loss, Elverum’s Mount Eerie projected gifted us something hard to experience and impossible to forget. With any luck, it will steer us towards more effectively demonstrating our love when it can be appreciated by the people for which it’s intended.

 

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The Best of the Rest

18-21

22-26

27-32

Middle Children – Baby Boom
Joyce Manor – NBTSA
Thurst – Forever Poser
The New Years – Recent History
Monomyth – Puppet Creek
Hermetic – Strategic Default

33-100

Protomartyr – A Private Understanding
Alexander F – Call Me Pretty
Pile – Dogs
Vagabon – Cold Apartment
Cloud Nothings – Internal World
Prom Queen – Blonde
Holiday Ghosts – Can’t Bear To Be Boring
Washer – Dog Go Bark
Grouper – Children
Slaughter Beach, Dog – Fish Fry
Fits – Ice Cream On A Nice Day
Meat Wave – Run You Out
The Spirit of the Beehive – Ricky (Caught Me Tryin’)
Walter Etc. – April 41st
Chemtrails – Deranged
Juila Louise – Brat
See Through Dresses – Lucy’s Arm
Amy O – Lavender Night
Modern Baseball – This Song Is Gonna Buy Brendan Lukens A New Pair of Socks
Girlpool – It Gets More Blue
The Total Bettys – Stay Here All Night
Tica Douglas – Same Thing
Midnight Reruns – Warm Days
WHY? – Proactive Evolution
Hand Habits – Sun Beholds Me
Long Neck – Mine/Yours
Julien Baker – Appointments
Anna Burch – Asking 4 A Friend
Palm – Walkie Talkie
Single Mothers – People Are Pets
Lydia Loveless – Desire
Deem Spencer – Soap
Two Inch Astronaut – Play To No One
Blessed – Headache
Diet Cig – Maid of the Mist
Madeline Kenney – Big One
Dream Wife – Somebody
Bethlehem Steel – Finger It Out
Strange Ranger – House Show
Miya Folick – Trouble Adjusting
Jesca Hoop – Pegasi
Fiji-13 – Mansplain It To Me BB
Idle Bloom – Dust
Florist – What I Wanted To Hold
Beachheads – It Feels Alright
Fruit & Flowers – Out of Touch
Ratboys – The Record
Schlotman – Holy Basil
Lost Balloons – Numb
John Rossiter – Mom Guitar
Lomelda – Interstate Vision
Walter Martin (ft. Matt Berninger) – Hey Matt
Jay Som – The Bus Song
Japanese Breakfast – The Body Is A Blade
Screaming Females – Glass House
Phoebe Bridgers – Smoke Signals
Open Mike Eagle (ft. Sammus) – Hymnal
Half Waif – Frost Burn
Petite League – Pocketknife
Say Sue Me – Bad Habit
Petal – 15
Waxahatchee – Silver
Jason Isbell & the 400 Unit – If We Were Vampires
Siobhan Wilson – Whatever Helps
Sammi Lanzetta – Circles
Deep State – Nothing Speaking
Saintseneca – Moon Barks at the Dog
Lithuania – 5000 Year Leap

17 of ’17: The Best Music Videos of the Year

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Arriving fashionably late, the Heartbreaking Bravery year-end lists kick off in earnest with a celebration of the visual medium. There were incredibly strong visual efforts put forward by the people that could afford to have lavish budgets for just about any facet of their creative output (with Kendrick Lamar having an especially fruitful year) but this space wasn’t designed to celebrate those artists. Instead, the 17 selections featured below represent some of the finest works that flew by at a quieter pace, whether they came from storied veterans or exciting upstarts.

The format established last year will continue on this year, with one (or several) item designated the top spot and the remaining selections featured with no discernible ranking. Both the songs and albums list will follow this format as well. So, dive in, pick your poison, and try to guide yourself to a fate no worse than spending an hour or more playing the world’s most audacious interactive music video. Here are the 17 best music videos of 2017.

Hazel English – Fix

Throughout Hazel English‘s first few releases, the songwriter’s proved adept at crafting memorably beautiful clips and “Fix” stands proudly as English’s current best. A romantic, softly-lit tone poem “Fix” consists of little more than two people at an undefined stage in their relationship traversing some beautiful scenery together. Superbly directed and masterfully edited, “Fix” carries a subtle emotional resonance that propels it from being simply good to something masterful.

Jay Som – The Bus Song

The artist responsible for last year’s Song of the Year returned to set 2017 on fire, breaking out in momentous fashion. The highlight of Jay Som‘s ascent came by way of this House of Nod-produced (and Michelle Zauner-directed) clip for “The Bus Song”. A joyous celebration of music, friendship, and the intertwining link between the two, “The Bus Song” is teeming with affection, wearing its heartfelt sincerity not on its sleeve but as a badge of honor, displayed proudly on its chest.

Zebra Katz – Blk & Wht

One of the most haunting clips to come out of this decade, Zebra Katz‘s “Blk & Wht” is a harrowing recreation of the experiences its actors endured as refugees attempting to clear border security. As grim and stark as the song itself, “Blk & Wht” takes on a nightmarish sheen of realism that’s fully elevated thanks to the people involved in the project. It’s hypnotic, it’s terrifying, it’s unbelievably well-executed and transcends the form of music video and tips towards effective activism (something that’s incredibly hard to do without coming across as ham-fisted or cloying) by proving immensely hard to shake.

Japanese Breakfast – The Body Is A Blade

Directing Jay Som’s “The Bus Song” wasn’t the only impressive feat Michelle Zauner completed this year. Zauner also collaborated with House of Nod again for this meditative clip tinged with tragedy for her own project, Japanese Breakfast. Beautifully combining archival footage from her past with the present state of being, “The Body Is A Blade” paints a complex and deeply human portrait. Empathetic, poetic, and laced with an abundance of warmth (in tonality, coloration, and emotion), “The Body Is A Blade” immediately stood out as one of the year’s best upon release and looks even stronger today.

PUP – Old Wounds

It’s not often that this site prints obscenities but “Old Wounds” warrants the following: Jeremy Schaulin-Rioux is a fucking maniac. The director’s been instrumental in guiding PUP to claiming Music Video of the Year honors for 3 of the past 5 years and — with this entry included — has been included in the “Best Of” lists for the other two. Even with that track record, it would have been difficult to predict Schaulin-Rioux would go off the deep end to create a choose your own adventure video game masquerading as a music video in the form of 73 separate clips (many of them containing accessibly esoteric jokes from prominent music journalists) to form a cohesive whole for the shortest — and fiercest — song on the band’s triumphant sophomore effort The Dream Is Over. Click play and lose yourself to a rabbit hole that you’ll never want to leave. You’ve been warned.

Fog Lake – Rattlesnake

Fog Lake‘s “Rattlesnake” was one of 2016’s most captivating songs and 2017 gifted it the kind of visual it so richly deserved. Lacking any sort of traditional narrative allowed for something far more thoughtful and moving, as the Forest Erwin-shot clip paid tribute to both environment and inhabitant in mesmerizing fashion. Tender, intuitive, and impalpable, “Rattlesnake” follows a filmic imprint that’s served auteurs like Terrence Malick and Shane Carruth well over their best works. That “Rattlesnake” would fit comfortably alongside their finest stretches is a minor miracle.

Open Mike Eagle (ft. Sammus) – Hymnal

A bizarre satirization of televangelism, Open Mike Eagle‘s Sammus-featuring “Hymnal” stands out immediately. Comfortably drawing the viewers in from an easily-identifiable vantage point, “Hymnal” then proceeds to reveal itself as a meticulously-constructed and perfectly executed piece of oddball humor that falls more in line with Tim & Eric than just about any other clip that’s come out over the past few years. Boasting an incredible amount of specificity, “Hymnal” plays out like a fever dream that’s impossible to escape. Thankfully, for all of us, it’s wildly enjoyable and rewards investment tenfold.

Julia Louise – Brat

One of a handful of videos on this list that mark a perfect distillation and representation of the artist responsible, Julia Louise‘s “Brat” also acts as an engaging introduction-at-large. Both a minimalist portrait of Louise and a vehicle to convey the frustrations and realizations of “Brat”, the clip finds life via honesty. A series of small, everyday moments stitched together through some compelling photography and anchored by a winsome central performance, “Brat” is a clever, tongue-in-cheek testament to Louise’s already formidable talents.

Craig Finn – God In Chicago

Likely the biggest name on this list thanks to a position as the bandleader of The Hold Steady, Craig Finn has still found a way to slip through the cracks. Finn’s solo material, while exceptional, has gone largely unheralded. The spoken word, narrative-driven “God In Chicago” ranked as a career high before the video and the Kris Merc-directed clip elevated it even further on Finn’s considerably long list of achievements. A gorgeous illustration of a significant relationship doomed to slowly erode over time, every inch of “God In Chicago” should be felt in full by the millions of people who have lived that experience. It’s a miniature masterpiece.

Pissed Jeans – The Bar Is Low

2017 proved to be intensely difficult for a cavalcade of reasons so any time anyone married a similar intensity to nonsensical joy provided a welcome escape. Enter: Pissed Jean‘s “The Bar Is Low”. Easily the furthest the band has embraced their buried comedic leanings, the clip earns its place here by virtue of the commitment everyone lends their performance as underachieving-but-desperately-trying gym rats. The deadpan stares, the intimidating glances, the absolute absurdity, and the off-the-charts aggression combine for the year’s most memorably fun clip.

Anamon – Fast Car

While Pissed Jeans took the comedic escapism route, Anamon offered something a little more grounded: a hangout clip that was unwavering in its sincerity. Delivered with conviction, “Fast Car’ consists of nothing more than the band taking their dog on a day out to some open spots to relax and enjoy a beautiful day. The photography direction throughout “Fast Car” provides a sweeping sense of freedom that accompanies those exact trips. There are no stakes and any lingering fears wither in the presence of good company and picturesque scenery. Sometimes that’s all anyone needs and “Fast Car” captures that essential truth to perfection.

The Last Dinosaur – Atoms

Comprised of nothing but discarded Super 8 footage gleaned from storage units and yard sales, “Atoms” quietly establishes a sense of history through its visuals as the song fixates on the full implications of mortality. When a project’s intent is to convey the entirety of life, it’s not often that it can actually manage to achieve something that resembles a complete understanding but The Last Dinosaur have carved out their spot in today’s music by subverting and/or challenging expectations. “Atoms” is a moving reminder of their penchant for coaxing out things that are as empathetic as they are beautiful.

Protormartyr – A Private Understanding

Following a blueprint established and reinforced by some of cinema’s most antagonistic filmmakers, Protomartyr‘s clip for “A Private Understanding” manages to tap into the same type of sinister energy as its forebears. An inexplicably nerve-wracking sequence set at what appears to be either a meticulously designed retirement home or a grossly exquisite restaurant attempting to pass itself off as a “home experience”, “A Private Understanding” creates and mercilessly attacks that cognitive dissonance while employing film techniques popularized in Greek and Korean cinema. As hypnotic as it is baffling, “A Private Understanding” demands consideration long after its closing seconds.

Deep State – Heavy Lunch

Deep State‘s kinetic clip for its equally kinetic “Heavy Lunch” follows an exceptionally minimalist formula: one person dances their way across the screen to a song. It’s a trope that’s reached a point of over-saturation in recent years and seems to have lost some of its merit. However, when one so exceptionally joyful and energetic comes into focus, its myriad pleasures are impossible to deny and the Ethan Payne-directed “Heavy Lunch” finds an abundance of meaning in its gleeful sprint.

Palehound – If You Met Her

Crafting a clip for songs that register as immediate standouts for reasons of a clearly personal nature will always prove a challenge. When those challenges aren’t just met but diminished to the point of evaporation under the final product, that music video will likely stand the test of time as one of the greats. Palehound‘s “If You Met Her” — created by a group of teenagers attending Real to Reel Filmschool — finds itself in a position where it can already form a solid case for that type of longevity. While Kempner’s project allowed itself to be guided by the ghost of Heatmiser for the song itself, the video grapples with other spirits. The religious imagery, the sense of being stuck between haunting and being haunted, and the quiet, tragic desperation at the heart of both the song and the video render “If You Met Her” one of this decade’s finest efforts, on both counts.

Charly Bliss – Westermarck

Over the course of this site’s existence, Charly Bliss emerged as a coverage staple. 2017 was the first year that afforded the band a true reckoning and they responded in kind, dropping one of the year’s best records, touring relentlessly (both as a headliner and opening up for enormous names), and releasing a string of fun music videos. No clip the band’s released can hold a candle to what they managed to create for “Westermarck“, which strips away any perceivable artifice in favor of something that served as an effective antidote to 2017’s grim climate. Pure, unbridled joy drives “Westermarck” to stratospheric heights, contagious in its own effervescence and committed to its convictions. A perfect distillation of the band’s identity and something to point to as a symbol of hope for the future. “Westermarck” deserves to be held up as an example of how to effectively translate the giddiest of emotions for years to come.

MUSIC VIDEO OF THE YEAR:

IDLES – Mother

No video landed as hard, reflected the times as well, or demanded attention as well as the snarling behemoth that was IDLES‘ clip for “Mother”, a seething call to action against sexual predators and the conditions that allow a surprising percentage of them to be excused so easily. Not just one of the most hypnotic clips of this year but of this century, “Mother” contains little more than IDLES’ vocalist Joe Talbot smashing a table full of ceramics in front of a portrait of his deceased mother — whose ashes were slipped into the vinyl pressings of the band’s latest, -BRUTALISM — as he rails against an economically unjust system that essentially forces poverty onto the lower classes, heightening their exhaustion under the guise of production for the benefit of the upper class.

It’s a commanding performance and Talbot’s anger is palpable and barely containable as each individual piece gets smashed to bits as the camera lens nearly disintegrates under the weight of his piercing stare. Wearing an opened pink blazer and pink pants, the opening image of “Mother” is arresting enough but what carries it to the realms of being genuinely unforgettable is the clip’s closing moments where the song ends and the video continues in silence, Talbot making sure every last piece is hurtled towards a ground already covered in shards of plates, cups, and figurines.

When everything has suffered the brunt of Talbot’s wrath, he pauses, walks back to the poster of his mother hanging pointedly in the background, puts his hand to her lips and walks off camera. There is still smoke. There is still fire. And there, in that conclusion, as the anger lingers, is where “Mother” stakes its place as one of the great music videos of our time.  

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Honorable Mentions:

Cayetana – Bus Ticket
Kevin Morby – City Music
Single Mothers – People Are Pets

The Best Music Videos of 2017’s First Quarter

Being the type of place that’s always been as concerned with film (even if it hasn’t always been so visible in print) as new music releases, music videos occupy a special distinction. To that effect, it’s probably not too surprising that 50 clips are featured in this piece. Some being celebrated for the technicality present in the filmmaking, some for being a perfectly complementary marriage of sight and sound, and some for being commendable takes on the source material. Lyric videos, music videos, and interactive videos are all represented below in the featured videos, split up into two playlists. This is a very varied package celebrating a large handful of some of the best independent-minded artists and filmmakers currently gifting their efforts to the world at large. Dive in and enjoy.

PART I

1. Charly Bliss – Percolator
2. Doe – Monopoly
3. Hiccup – Teasin’
4. Meat Wave – Run You Out
5. Pissed Jeans – The Bar Is Low
6. Cloud Nothings – Internal World
7. Yeesh – End Results
8. Parquet Courts – Outside
9. Cayetana – Mesa
10. PWR BTTM – Answer My Text
11. Yucky Duster – Elementary School Dropout
12. Beachheads – Moment of Truth
13. Kane Strang – Oh So You’re Off I See
14. Billy Moon – I W K
15. Idles – Mother
16. Cass McCombs – I’m A Shoe
17. Angel Olsen – Pops
18. Ruth Carp and the Fish Heads – I’m So Scared
19. Dominic – Emotional Businessman
20. R Ring – Cutter
21. Zuzu – What You Want
22. Snail Mail – Thinning
23. CARE – Solitude
24. WHY? – This Ole King
25. Mount Eerie – Ravens

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PART II

1. Jeff Rosenstock – Pash Rash
2. Alexander F – Call Me Pretty
3. Idles – Stendahl Syndrome
4. Split Single – Untry Love
5. Tim Darcy – Still Waking Up
6. Diet Cig – Tummy Ache
7. R Ring – 100 Dollar Heat
8. Poppies – Mistakes
9. PWR BTTM – Big Beautiful Day
10. LVL UP – Blur
11. Sløtface – Empire Records
12. Vundabar – Shuffle
13. WHY? – Proactive Evolution
14. Vallens – Sin So Vain
15. Baked – Danelectroladyland
16. Tashaki Miyaki – City
17. Girlpool – 123
18. Chemtrails – Aeons
19. Summer Twins – Stop & Go
20. John Andrews & The Yawns – Drivers
21. The Chinchees – Gorp
22. Mo Troper – Cooler
23. Conor Oberst – Till St. Dymphna Kicks Us Out
24. Strand of Oaks – Cry
25. Craig Finn – God In Chicago
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Eskimeaux – Broken Necks (Music Video)

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I don’t know how this site has gone 650 posts without ever giving a headline slot to Eskimeaux, whose phenomenal 2015 effort– the coyly titled O.K. has been in near-constant rotation over the course of the past few months.  Gabrielle Smith’s Epoch project has appeared on this site a handful of times and even led off the recently published fall mix. Sooner or later something was bound to crack the feature-less streak and today it arrived in the form of a casually brilliant music video. While the medium did have a fairly strong week, it was the clip for “Broken Necks” that wound up here for reasons that skewed both objective and subjective.

Objectively, it’s a work of technical brilliance from House of Nod, who continue to impress while operating on an exceptionally high tier. Crisp editing (the stop motion is particularly enjoyable), gorgeous visuals, measured pacing, & committed performances all heighten an intentionally loose narrative that capitalizes on the song’s curious exuberance while still carving out space for its inherent bleakness (something that’s punctuated by Smith’s surprisingly capable deadpan moments). Accentuating that whimsicality are the several mini-sequences that play out like gifs, a move that could have proven too twee had it not been effectively balanced out by some astoundingly graceful long shots.

On the subjective side of things, this is a video that illustrates several of the things I love about the place I’ve come to call home for a little over a season. As run-down as it can seem, New York City (and especially Brooklyn) readily facilitates art. It’s evident in everything from the structural layout of the buildings to the graffiti that adorns their walls. For the lack of a better term, there is a strange sort of magic that the area carries, something that’s been heightened by its residents. A lot of the locations that were used in this video have come to have very significant meaning to me and I consider myself fortunate to know a handful of the people involved in the project on both sides of the lens. In that sense, not only does it succeed on its basic functions but it also operates as a living document of a specific place in time.

With all of the reasons listed above infused into one 207-second presentation, “Broken Necks” can’t help but feel (almost excessively) vibrant. It’s the perfect companion piece for O.K.‘s dueling emotional modes and a strong showcase for both Eskimeaux and House of Nod. By virtue of being so thrillingly alive and refreshingly original, “Broken Necks” surpasses merely being notable and draws closer to being unforgettable. A charming and remarkably endearing showcase of wit, composition, and genuine talent, it deserves as many views as possible.

Watch “Broken Necks” below and pick up a copy of O.K. from site favorites Double Double Whammy here. Beneath the music video watch a live performance of the song. Underneath both clips, explore a list of other great music videos to find release this week.

Puppy Problems – Daisy
Hethers – Guiding Light
J Fernandez – Between the Channels
Tuff Sunshine – Dreamin
Magnet School – British Monuments
Dogs In Ecstasy – Do Me Ronnie
Beliefs – 1992
Bully – Too Tough
No Joy – Judith
Ricked Wicky – Poor Substitute
Moby & The Void Pacific Choir – The Light Is Clear In My Eyes
Sarah Bethe Nelson – Fast Moving Clouds
Other Lives – Easy Way Out
Algiers – And When You Fall
Samson the Truest – Afterall
Mal Blum – Robert Frost
Math the Band the Band – Didn’t Have Time to Think
Destruction Unit – Salvation
Idles – The Idles Chant