Johanna Warren | Heartbreaking Bravery

August 12, 2015

Johanna Warren – Live at The Grove – 8/9/15 (Pictorial Review, Live Video)

Johanna Warren is an incredibly important person to me who has been a central figure in two of the larger undertakings I’ve completed in the past year. The first was her beautiful contribution to the A Year’s Worth of Memories series (one where she detailed the first effort of what was originally going to be the video for “Black Moss” before it became “True Colors“) and the second being a multimedia artist profile for Consequence of Sound that included a photoshoot, a live video shoot, and an extensive interview. After being fortunate enough to take in Waren’s unforgettable, all-acoustic rooftop performance only a few weeks ago, I was more than willing to accept her invite to come to her quasi-release show (one specific to NYC) for this year’s outstanding nūmūn.

Held at a basement venue, the menu for the evening was far more eclectic than is usually covered here and perfectly suited to Warren’s sensibilities. An abbreviated meditation session was given, poetry was read, a mothering station was set up (and very briefly caught fire), tarot readings were available, and there was a bold, intense performance art piece from Gretchen Heinel (one of the directors of the “True Colors” video) involving nudity, white flowers, foreboding music, and a blood bag (which was partially consumed by Heinel herself). All the while, a few other vendors were offering their goods or services and a looped projection from visual artist Elisa Ghs. While it was officially titled a healing fair, the two main draws came in the form of its performing artists.

After Heinel’s incredibly intense performance art piece, Mikaela Davis (a new name to this site) immediately set about bringing some tranquility back to the proceedings. Davis is the kind of performer that exudes a natural grace that can frequently easily lend itself to an inherent magnetism, so I was very close to completely positive I’d enjoy her performance before a single note was played. After she’d set up her harp and made sure that Warren was seated at her harmonium (a recent addition to her live oeuvre), the duo had me frozen with a half-minute soundcheck of a beautifully arranged Elliott Smith cover. In less than a minute, Davis went from a promising prospect to an artist with my undivided attention. By the time her first song’s last notes were ringing out (the only she’d play with Warren and/or a harmonium accompaniment), an audience member succinctly summarized everyone’s reactions with a soft, awed expletive.

That sentiment crept in again and again as Davis’ set progressed, looping through my head with each new movement and figure of her songs. Positioned in front of the projection screen, still looping visuals, the effect was so transfixing that it almost became unnerving. Undeniably beautiful and occasionally deeply mysterious, Davis’ slow-burning songs melted over a hushed audience, all of which knew they were witnessing a rarity and providing it with the according levels of attention. It was a mesmerizing set of songs that has less in common with Joanna Newsom’s work (a frequent comparison that holds some waters but mostly comes up somewhat flat) and falls more along the lines of the likes of Elliott Smith and Priscialla Ahn. As much as I wanted to see Warren perform again, it was impossible to want Davis’ set to end. It did, though, as all good things must, and watching/hearing the closing song was an unforgettable experience- one that ensured that this won’t be the last time Davis’ name is mentioned on this site. Mouth agape, it took me several moments to collect myself, process what I’d just witnessed, and prepare myself for whatever magic Warren had conjured up for the evening.

Before long, Warren was seated in front of the microphone, guitar in lap, ready to launch into a set that drew on nūmūn and new material at a fairly equal rate. “Figure 8”, “The Wheel”, and a handful of others all evoked the same stunned reactions that keep me coming back to Warren’s music and, surrounded by friends, family, and fans, she looked even more at peace than usual. When it came time for “True Colors”, Warren made sure to dedicate it to Heinel and the clip’s other director, Damon Stang, who were seated next to each other, all smiles. Warren’s set marked the third time I’d seen the songwriter perform this year and the performances have all occupied the same space of unshakable quiet intensity but, for whatever reason, “True Colors” came off as particularly alive in the basemen (officially titled The Grove).

As familiar as I’ve come to be with Warren’s work, I’d been keeping an eye on the untouched harmonium throughout Warren’s set, hoping she’d return for at least a song. Finally, at the very end of a characteristically arresting performance, Warren took a seat and began the repetitive motions required to breathe life into the instrument (one of my personal favorites). Titled “There Is A Light”, the song ranks among the best in her discography. Gentle, gorgeous, and reaffirming, it almost comes across as a once-silent prayer pulled out into the world. Instead of feeling voyeuristic, there’s a very welcoming sense found in the song’s radiant warmth- one that likely had more than a few people (myself included) on the verge of tears. As the final lines of the song hit (“Well, we could lie down and collectively seal our fate. You know it’s now or never but it’s never too late.”) and the chords drift off into silence, that silence is sustained. In that moment and the several moments that followed, no one made a sound, collectively drawing out the impact of a perfect ending.

A full photo gallery of the show’s musical acts can be seen below and a video containing some of the evenings performances can be found beneath the gallery.

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August 3, 2015

A Small Victory in 600 Moves (Video Mixtape)

Heartbreaking Bravery has never been an overtly traditional blog. Yes, some commonplace elements and recurring themes keep it from falling apart but its essentially come to operate as a living journal of the things that have piqued my interest. It’s allowed me a place to provide documentation of recent events that blend recap aesthetics with critical analysis while simultaneously operating as a platform to showcase lesser-known bands. When it was initially devised, its sole purpose was to grant me an outlet to be able to keep writing but- over time- it grew into something that eventually had a heavy impact on my life. Whether through enabling visits to Toronto or being one of the biggest root causes of the recent relocation to Brooklyn, it’s played an enormously active role in shaping some of the biggest decisions I’ve ever made- and it’s been directly responsible for linking me to a handful of genuinely invaluable people that I’d be twice as lost without.

Now on its 600th post- and with the blue moon just barely behind us- it felt appropriate to allow the rarest of overtly personal posts. Over the near-two months I’ve been residing in Brooklyn, I’ve had the privilege of both witnessing and playing a part in some genuinely unforgettable moments. For a large handful of them, I was fortunate enough to have the camera on and rolling. The 25 clips that are all contained in this sequence are videos I’ve shot personally since landing in New York. From a breathtaking acoustic rooftop performance overlooking the city’s industry-driven sprawl to an inexplicably perfect moment at a secret wedding to secret headliners to a slew of site favorites, there’s a lot of content here- all of which made me feel like I was in the exact right place. It’s an offering that acts both as a celebration of a small accomplishment in terms of longevity and as a sincere thanks to a part of the world that has so readily accepted- and celebrated- both myself and this site. I’m genuinely unsure of what the future holds but if it’s anything as exciting as the past few months have proven to be, I’ll consider myself fortunate to share it with both my friends and anyone kind enough to lend any attention to this site.

Below the video, you can find a tracklist of the sequencing and- as this is another 100 posts- there will be links to the preceding 100 posts. Click play and browse at will. Enjoy.

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1. Girlpool – Crowded Stranger (Live at Baby’s all Right)
2. Diet Cig – Dinner Date (Live at Shea Stadium)
3. Frankie Cosmos – On the Lips (Live at DBTS)
4. Radioactivity – World of Pleasure (Live at Baby’s All Right)
5. Dogs On Acid – Make It Easy (Live at DBTS)
6. PWR BTTM – Projection (Live at Palisades)
7. Slothrust – Crockpot (Live at Suburbia)
8. Charly Bliss – Dairy Queen (Live at Shea Stadium)
9. Told Slant – I Am Not (Live at Silent Barn)
10. Montana and the Marvelles – Stand By Me (Live at DBTS)
11. Lost Boy ? (ft. Patrick Stickles) – Big Business Monkey (Live at Shea Stadium)
12. Idle Bloom – Dust (Live at Alphaville)
13. Swirlies – Wait Forever (Live at Silent Barn)
14. Tenement – Crop Circle Nation + Dull Joy (Live at The Acheron)
15. Bully – Brainfreeze (Live at Rough Trade)
16. Rebecca Ryskalczyk – Other Otters (Live at DBTS)
17. Attic Abasement – Sorry About Your Dick (Live at Shea Stadium)
18. Eskimeaux – Folly (Live at Palisades)
19. Krill – Turd (Live at Silent Barn)
20. Littlefoot – Worrydoll (Live at DBTS)
21. Florist – 1914 (Live at Baby’s All Right)
22. Mitski – I Will (Live at Palisades)
22. Adir L.C. – Inside Out (Live at DBTS)
24. Johanna Warren – Survive (Live)
25. Benny The Jet Rodriguez – Alley Cat (Live at The Acheron)

July 28, 2015

A Short Stretch (Video Review)

As was recently explained in the pictorial review of the just-initiated A Short Stretch series, there’s been an increased focus on live documentation. With that being the case, coverage for a few shows gets relegated to the sidelines as this site does upkeep on the current release cycle and features on a handful of other live shows. It’s far from a perfect system but it’d be inexcusable to simply let the photos and footage of shows that don’t get feature reviews waste away on the sidelines. In an effort to amend this, A Short Stretch was created. Here’s how the video portion will work: each band with footage will get a very brief write-up- or capsule review- of their show to accompany the live video(s). So, it’s time to take a look back at some of the great performances from shows that went uncovered.

Eskimeaux

Following a riveting performance at Palisades, Eskimeaux delivered an equally mesmerizing set at Shea Stadium, despite sweltering heat. The below video is the final piece of that set, a characteristically powerful rendition of O.K. highlight “I Admit I’m Scared”.

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Mitski

With Eskimeaux having just set the stage with a beautiful set prior, Mitski went ahead and dove headfirst into an impassioned set that had everyone in Shea sweating, smiling, screaming, and dancing. Starting the night off with two of the strongest highlights on Bury Me At Makeout Creek– one of 2014’s best albums– proved to be a great move.

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Model Train Wreck

Going into Model Train Wreck’s set at Shea Stadium on July 22, I had no prior knowledge of the band and wasn’t sure what to expect. It took them less than a song to ensure my full attention. Dark, bruising post-punk that’s unafraid of embracing a heavy pop sensibility is a look that more bands should consider attempting. This is definitely a band worth celebrating.

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Fern Mayo

After catching Fern Mayo’s ridiculously impressive set at Miscreant’s Northside showcase, catching the band’s live show again was an inevitability. For round 2, the band sounded even sharper than they had a month ago at Palisades, driven by some strong musicianship and the fiercely original songwriting of Katie Capri (who provided this site with an important piece for the inaugural A Year’s Worth of Memories series). This won’t be the last time they’re featured on this site.

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PWR BTTM

It’s taken a little over a month for PWR BTTM to become one of the most-written about bands here at Heartbreaking Bravery. A large part of the reasoning behind the centralized coverage is the duo’s insane live show. Even taking the pointed visual theatrics out of the question, the band’s an absolute powerhouse. Ugly Cherries, the band’s forthcoming full-length, is one of the year’s stronger releases and the band continues to push themselves to their limits when they play, as if they’re performing some sort of self-exorcism for the benefit of their audience. That dynamic was put on full display once again at Shea, where they weathered some technical difficulties to deliver yet another memorable set.

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Johanna Warren

A very select few shows are instantly unforgettable and more often than not the reasoning boils down to circumstance. On this occasion, a last-minute change of location was made in the interest of the people who were hoping to see Johanna Warren (another A Year’s Worth of Memories contributor) perform. The original house venue that was set to host the show discovered a bed bug infestation so the songwriter took to social media to find an emergency replacement. After some negotiating, the show was re-sculpted completely and turned into an all-acoustic affair that was set to take place on a roof in Bushwick, which coincidentally offered a stunning view of the city that stretched outwards for miles. Only a small handful of some of Warren’s friends showed up and enjoyed the perks of such an intimate affair (and the generosity of those who provided free beer, wine, and snacks for the guests). Poetry was read to set the tone and then- with the moon shining brightly- Warren took a seat in front of the Brooklyn (and Manhattan) skylines to play a career-spanning selection of songs (including some that had never been performed in public) for a hushed audience. Not even the overhead jet noise could dampen the spell cast by something so sublime.

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Idle Bloom

Just a week after laying waste to two crowds as Mitski’s guitarist, Callan Dwan (pictured above) wound up playing another show in Brooklyn after meeting up with one of her other two bands in the interim. Idle Bloom was a name that I’d seen on bills before but I’d never really had the chance to delve into the band’s discography- something that’s fairly limited, as of this writing. After Zen Hed (a new band featuring members of some prominent bands) set the stage for Idle Bloom with a shambolic set of scrappy rock n’ roll, the quartet took the stage and proceeded to dismantle their audience with an affecting blend of shoegaze, post-punk, and dark pop that was topped off with some subtle, well-placed psych flourishes. Fierce, grounded, staggeringly powerful, and- at their best- breathtaking, Idle Bloom wound up delivering one of the finest (and most unexpected) sets I’ve seen all year. With their full-length record currently going through the necessary processes in the lead-up to its release, this is definitely a band to watch closely. Stay tuned to this site for more updates on the band (as well as the record) and click play to discover an emerging act that’s worth meeting with no shortage of excitement.

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July 28, 2015

A Short Stretch (Pictorial Review)

Over the past few weeks, I’ve been fortunate enough to take in a lot of shows- but as that number quickly balloons, it becomes difficult to post features about each and every one. It may be due to an extenuating factor like a repeat bill (Eskimeaux, Elvis Depressedly, and Mitski played two shows in a few days and I attended both) or a heavy amount of coverage rightfully bestowed on a particular act in a short amount of time (as was the case with PWR BTTM). Additionally, if there’s only one musical act playing an intimate friends-only type of affair (Johanna Warren), it becomes almost sacred; an event that should go largely untouched. Conversely, if it’s a one-act spectacle rooted in confined mystery (Ronnie Stone & The Lonely Riders), it’s best to uphold the convictions of the artist. With all of that taken into account, it still seemed appropriate to eventually share a brief gallery of some of that documentation. A gallery of most of the artists mentioned above- and a few more that weren’t listed- can be seen below. Enjoy.

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June 3, 2015

Johanna Warren – True Colors (Music Video) (NSFW)

It’s been about a week since a regular post ran on here, which mostly just means there’s a lot of content to come. A lot of great songs and albums have managed to appear in a very short window of time. All of those will be put on pause as this post gives sole focus to the more visually-inclined main category of this site (though plans are still in motion for film to factor into coverage): music videos.

Fucked Up’s fearlessly experimental multimedia experience for “Year of the Hare“, FIDLAR’s endearing, homage-heavy “40oz. on repeat“, Liza Anne’s absolutely gorgeous “Lost“, Braids’ stunning visual accompaniment to their career highlight “Miniskirt“, and Blur’s immensely enjoyable “Ong Ong” all proved to be notable highlights. Joining them were Pleistocene’s playfully shambolic “Pulp“, Swervedriver’s multicolor, kaleidoscopic “I Wonder?“, Izzy True’s tantalizingly bare-bones lyric clip for “Swole“, Demons’ skate spree in “Radical Cure“, Eternal Summers’ color-bled “Gold And Stone“, and We Were Promised Jetpacks’ beautiful, arresting “A Part Of It“.

Then, there was Johanna Warren’s “True Colors”.

Before diving into the blisteringly intense content of the video itself, it’s worth taking a step back to take a look at the history of the video- one that’s intrinsically intertwined with this site. At some point late last year, I’d latched onto Warren’s music thanks to her tour with site favorite Mitski. At some point during that time, Warren and I began talking and she eventually agreed to contribute a piece to the diaristic year-end segment A Year’s Worth of Memories. Her piece stood out immediately, primarily because it was about something that hadn’t ever materialized.

When I caught up with Warren in Menasha- a small town in the middle of Wisconsin- to profile her for Consequence of Sound, I was eager to discuss the video. I’d been listening to nūmūn religiously in preparation and had a very distinct idea for what I thought the clip- initially intended for “Black Moss”- would be if it was ever resuscitated. Warren assured me it hadn’t escaped her mind (not surprising considering her initial levels of unease- feelings which would return leading up to the record’s premiere) and was still hoping to return to the concept for a future release.

Somewhere along the way, the song shifted and- during filming- took on a new life. Originally envisioned to be something far more gentle, the concept was adjusted into something much rawer (and, likely, much more important). To go into further details at this point would be relatively pointless as Warren provided an eloquent analysis of its mechanics in a statement issued to Stereogum, where the video premiered. That statement can also be read below.

This song is about traversing and transgressing boundaries: the tenuous lines that separate physical and metaphysical, waking and dreaming, and our moral categories of right and wrong. It’s about walking barefoot down the fertile coastline where binaries touch and exploring what hidden, buried parts of your soul might stir awake and flourish if you free yourself from the shackles of what society deems appropriate. It’s about surrendering to the wild — specifically the wild feminine, which has been so oppressed and forgotten — and communing in a primal, magical way with the powerful forces of nature.

The scene depicted in this video is an initiation rite. Throughout human history, spiritual practices have involved elements of bondage, flagellation, and submission as a means of entering altered states of consciousness/getting close to God. These days, most of us feel like we don’t have access to visionary experiences, largely because organized religions have convinced us they are the gatekeepers to spirituality. But there is a basic evolutionary human need for the expansion of consciousness, and that drives some of us to engage in activities that have been scorned, demonized and/or criminalized by our puritanical society, such as exploring psychedelics, magick, and BDSM—all of which, when done safely and consentually, can be effective keys in unlocking altered/ecstatic states (and all of which, I believe, are the subject of increased mainstream interest right now specifically because of our culture’s gaping spiritual deficit).

The making of this video was an experience I curated for myself with the support and guidance of two trusted, beloved collaborators: Gretchen Heinel, a radical feminist genius whose evocative body of work explores BDSM, body modification, and ritual; and Damon Stang, a highly gifted and learned Witch and practitioner of queer urban folk magic. In light of important ongoing discussions and valid sensitivities around issues of consent and violence towards women, let me clearly state my stance as an empowered creative woman who believes every human has the right to do with his or her body exactly what he or she chooses, short of infringing the rights of a fellow being. The struggle to reclaim that right is at the heart of so many key social issues right now: gay marriage, abortion rights, legalizing marijuana and other controlled substances, etc. For me, making this video felt like a radical reclaiming of my right to do with my body exactly what I want.

On my drive home from the shoot, a critical little voice in my head asked me why the hell I did this, and I happily replied, “Because I fucking wanted to.” It was fun and empowering and sexy and beautiful and deep and magical, I learned so much about myself and I have no regrets. It’s crazy, though, how even knowing all that, watching the video and thinking of others watching it, I find myself judging myself SO HARD and feeling a lot of fear. But just as my anxiety reaches a peak, I hear my own voice sing, “Forget the duality of wrong and right,” and I’m like… “Oh yeah, good point.”

It’s at once a spellbinding look at the psyche of one of the more interesting artists of the moment and an incredibly charged statement. Genuinely unsettling and superbly directed by the team of Gretchen Heinel and Damon Stang, it verges on being an extremely difficult watch but it soon becomes impossible to look away. As a representation of one of Warren’s most successful dichotomies (an inexplicable- and often light- gentleness paired with a searing- and frequently dark- intensity). Operating on the fringes of both dream and nightmare, “True Colors” is one of 2015’s boldest visual works to date.

Watch “True Colors” below and pick up nūmūn from Team Love here.

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June 2, 2015

Splitting at the Break: A Visual Retrospective of 2015’s First Half (Pictorial Review, Live Video)

Over the first course of the year, I’ve made several major life decisions with the largest being a move to Brooklyn. Saving up for that paired with a work schedule that at one point had me logging roughly 75 hours a week meant sacrificing a lot of the things I love. None of those things hurt more than the severely limited number of shows I was able to attend. However, it was likely that same scarcity that made the shows included in this piece so memorable. From conducting an artist profile on Johanna Warren for Consequence of Sound (where a few of these photographs were first printed and where you can also find auxiliary video of Warren performing) to finally seeing a few site favorites- like Saintseneca, Krill, and Vacation- for the first time after years of waiting.

While it may not be much, this is still a collection that has deeply personal value. It’s a reflection of a region I called home for the entirety of my life and it’s a place I will miss when I leave it in just over a week. I’ll always be grateful that I was provided the opportunities to attend the shows contained in the multimedia portion of this post- and for the friends I made who were connected to those shows in literally any way. Writers, bands, editors, promoters, venue owners, label execs, or even just fans, they helped make some of these places feel like home. So, take a trip below with shots (and some videos) of: NE-HI, Oozing Wound, Protomartyr, Perfect Pussy, TRITA, Disasteratti, Buildings, Adron, Johanna Warren, Mutts, Two Inch Astronaut, Krill, Speedy Ortiz, Fox Face, The Midwest Beat, Mexican Knives, Vacation, FIDLAR, METZ, Saintseneca, and Murder By Death. The regional focal post of Heartbreaking Bravery may be shifting drastically in the months to come but a large part of its heart will always be lodged in the Upper Midwest.

Hope you enjoy.

NE-HI // OOZING WOUND // PROTOMARTYR // PERFECT PUSSY

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TRITA // DISASTERATTI // BUILDINGS

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ADRON // JOHANNA WARREN

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MUTTS

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TWO INCH ASTRONAUT // KRILL // SPEEDY ORTIZ

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FOX FACE // THE MIDWEST BEAT // MEXICAN KNIVES // VACATION

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FIDLAR // METZ

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SAINTSENECA // MURDER BY DEATH

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May 7, 2015

Joanna Gruesome – Peanut Butter (Album Review, Stream)

Joanna Gruesome‘s a name that’s been appearing on this site consistently throughout its duration and Peanut Butter‘s ensured that trend’s been one that continued throughout 2015’s first stretch. Weird Sister was one of the best records of 2013 and it came out just before Heartbreaking Bravery started operating, which meant they likely factored into the decision to create (and sustain) this space. In 2014, their Astonishing Adventures split with Perfect Pussy nearly topped our best splits of 2014 list (where Peanut Butter standout “Psykcick Espionage” made its debut) and they’ve earned themselves several standalone features through their music videos as well as their recorded output. In short, the band had a lot to live up to with Peanut Butter– and they answered those expectations with a deafening roar.

Embracing the dynamics that made them such a compelling act out of the gate, they’ve managed to refine their approach and incorporate a much heavier emphasis on dissonance. Peanut Butter is Joanna Gruesome’s heaviest, noisiest, and most accomplished work to date, extending a narrative arc of continuous improvement. For a band that already packed a punch, throwing in stabbing noise freakouts that punctuate a large number of Peanut Butter‘s tracks might seem unnecessarily excessive. What sets Joanna Gruesome apart from some of their like-minded kin when it comes to this department is their unwavering understanding of restraint. “I Wanna Relax” starts with sheer white noise- but it’s cut off at the head almost as soon as it appears, effectively rendering it a jarring warning of the content that lies ahead.

Joanna Gruesome didn’t set out to pull punches on Peanut Butter and much of the record comes off like an assault. Impressively, even with the strengthened bent on atonality, the band hasn’t sacrificed any of their melody- they’ve enhanced it. “Last Year”, the record’s opening track, is one of the best examples of this duality and sets the tone for the nine tracks that follow. Never dipping under mid-tempo, the band keeps things at a sprint throughout the record, never allowing the listener a reprieve. The closest they come is the band’s surprisingly gentle closer, “Hey! I Wanna Be Yr Best Friend”, which feels like the transcendental calm that descends after a violent storm.

Part of what makes Joanna Gruesome’s storm so electric is the way vocalist Alanna McCardle weaves her ideologies into her narratives, subtly drawing the line to gender expectations through tales of difficult relationships and personal angst. Throughout Peanut Butter McCardle grapples with what and what isn’t good, torturing herself by questioning her own motivations. At times, the self-examination is brutal but it’s softened by the band’s pop sensibilities, which are continuing to produce some of the most gorgeous moments of any band currently making music. Terrifying, exhilarating, and unfailingly brilliant, Peanut Butter isn’t just Joanna Gruesome’s current crown jewel, it’s also one of the brightest spots of a year that’s already overflowing with greatness. To further illustrate that last point, a list of titles worth hearing will be included at the very bottom of this page (which also acts as an addendum to the preceding post).

Before you scan through those titles, though, make sure to listen to Peanut Butter over at NPR’s First Listen (the Spotify embed will take the place of that link once the record goes live).

Pre-order Peanut Butter from the always-great Slumberland here.

Now, as promised, an accompanying list of some other previously unlisted 2015 titles that are more than worth your attention.

Johanna Warren – nūmūn
Pfarmers – Gunnera
Sick Sad World – Fear and Lies
Glockabelle – Wolf BBQ
Fraternal Twin – Skin Gets Hot
Coliseum – Anxiety’s Kiss
DTCV – Uptime!
Clean Girls – Despite You
Turnover – Peripheral Vision
Battle Ave – Year of Nod
Tres Padres – Father’s Day / A Lot to Maintain
Vomitface – Another Bad Year
Eskimeaux – O.K.
Crocodiles – Boys
Novella – Land
Blanck Mess – Dumb Flesh
Miss June – Matriarchy
Art Is Hard – Family Portrait Pt. II

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April 6, 2015

2015: First Quarter Highlights (Mixtape)

After three months and some change of the site being forced into more inactivity than production, single streams are about to be caught up to what’s happening (as it happens). More than 300 songs have been touched upon in the past week and 25 more will find features tonight (26 if you count this special mention of “The Waters of Babylon“, the crown jewel of Will Butler’s fascinating project for The Guardian). A few of these songs may have appeared in some small form here over the course of the year but each deserves a more central feature spot. Not all of these are songs that are new to the fold either, a few of them have appeared in some fashion in years past and earned a re-release (or, in Tenement‘s case, a remaster) in 2015’s first quarter. If a song has already been featured in full (as is the case for Mikal Cronin’s “Made My Mind Up” and Fred Thomas’ “Every Song Sung To A Dog”), they’re ineligible for this particular mix- but are still very much in the running as Song of the Year candidates. A handful of others on this list join them in that candidacy, with Hop Along‘s exceptionally strong lead-off single from their upcoming record, Painted Shut, being a particularly formidable example. All together, these songs are intended to represent the abundance of quality that the year’s yielded in its opening quarter. Set aside some time and revisit a handful of this year’s best offerings.

1. Hop Along – Waitress

By releasing their most accomplished song to date, Hop Along did far more than justify their signing to Saddle Creek; they provided a jaw-dropping dose of adrenaline to the year’s first few months. If Painted Shut doesn’t elevate this band’s recognition to stratospheric heights (something early reactions have indicated it seems poised to do), it’ll be one of 2015’s biggest stunners. Also one of 2015’s biggest stunners? “Waitress”. Frances Quinlan & co.’s finest moment to date.

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2. Pocket Hercules – Well-Adjusted

A small but staggering release, Pocket Hercules’ self-titled effort came with no shortage of great moments. Chief among them was “Well-Adjusted”, which served as the introduction to Pocket Hercules for many and flatly laid out every bit of what makes the band so fascinating; off-kilter guitar work, exhilarating dynamics, left field arrangements, and deceptively brilliant arrangements. Hear the whole tapestry unfold below.

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3. Makthaversan – Witness

Makthaverskan hadn’t carved out much of a foothold in the US until Run For Cover wisely picked the band up last year and re-released what deserves to be considered a contemporary classic. Every since then, the band’s been capitalizing on the groundswell of momentum that the signing kicked into motion. Teasing some material that could be just around the corner, “Witness” is an arresting reaffirmation of a band that deserves the attention they’re getting.

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4. Slutever – Open Wide

Ever since their split with Girlpool, Slutever haven’t been content to sit back- and that restlessness led to not only one the year’s best early EP’s but one of its best songs as well. “Open Wide” allows Slutever to demonstrate how affecting they are when laying into a mid-tempo number with as much passion as humanly possible. It’s a quick-witted song that packs a serious punch, easily securing it a spot on this list.

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5. Tenement – Spaghetti Midwestern

No, “Spaghetti Midwestern” is not a new song. In its earliest iteration, the tune was packaged on what remains one of my personal all-time favorite splits back in 2009 (Used Kids held down the other side of that split). It’s a song that’s held a lot of meaning for me over the years and it was one of the earliest indications of Tenement’s still-limitless potential. Even though it’s only a remaster, it would feel wrong to exclude it here- it deserves to be celebrated at every opportunity that the possibility of celebration is presented. This list is no exception.

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6. PWR BTTM – Hold Yer Tongue

Another song to be taken from an incredible split release, PWR BTTM’s “Hold Yer Tongue” was one of the more fiery introductions to a band I’ve ever heard. Towering in dynamic scope and lightly intimidating in lyrical content, “Hold Yer Tongue” hits a series of sweet notes that cement the band’s status as one of today’s most exciting emerging acts. With the volume- and seemingly everything else- dialed up to 11, “Hold Yer Tongue” is a show of force that lingers long after the song’s come to a close.

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7. Beach Slang – Too Late to Die Young

After building a reputation on the backs of fiery blasts of scrappy punk, a tender, heart-on-sleeve acoustic number is an interesting choice for Beach Slang. Evoking more than a few shades of The Replacements at their most vulnerable, “Too Late to Die Young” suggests that the band’s songwriting abilities may go even further than the levels hinted at on their first few EP’s. Gentle and oddly moving, “Too Late to Die Young” is a song that elevates an already great band’s potential.

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8. Johanna Warren – Figure 8

No record has captivated me this year in a way even remotely similar to Johanna Warren’s nūmūn. Delicate, provocative, and quietly intense, it’s as if Warren was intent on world-building at a cinematic level. One of the record’s most gently arresting moments is the Elliott Smith homage, “Figure 8”. Layered vocals, fingerpicked acoustic guitar, and subtle, brilliant production all render this into something spellbinding that verges on the otherworldly. Haunting, damaged, and beautiful- it’s not difficult to think “Figure 8” would have made its source of inspiration proud.

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9. Alex G – Change

Another song on this list that’s existed prior to this year, “Change” went through a little more than a remaster and has- in essence- taken life as a new song. Granted, it’s not too dissimilar from the previous version of “Change” but it has a newfound vibrancy and expanded aesthetics that effectively retroactively render the original “Change” to demo status. Alex G continues to make waves and generate interest and the reworkings of earlier material make his talent abundantly clear, with “Change” now positioned at the front of the charge.

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10. Trust Fund – Essay to Write

A band doesn’t earn the title of site favorite without continuously impressing and, after “Essay to Write” (as well as the rest of the band’s most recent record), it’s fair to apply that tag to Trust Fund. Striking a perfect balance between optimistic and down-trodden, without losing an ounce of their identity, Trust Fund enhance an already appealing identity with one of their most compelling outings to date.

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11. Cyberbully Mom Club – Friends

Shari Heck’s Cyberbully Mom Club got a shot in the arm with a full band upheaval of what was once strictly a solo project. Taking on a spiky basement punk tone, “Friends” exists in the sweet spot that this site touches upon most frequently. Strong melodies resonate throughout “Friends” and there’s a real sense of drive that pushes the song forward, allowing it to reflect an endearing new spark in the Cyberbully Mom Club project.

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12. Peach Kelli Pop – Princess Castle 1987

Jaunty, supercharged, and hyper as hell, “Princess Castle 1987” is a perfectly-timed reminder of the sheer power possessed by Burger mainstay Peach Kelli Pop. With video game love in full effect, “Princess Castle 1987” is punctuated by retro influences but still manages to come off as fiercely modern. Sharp and exhilarating, it’s an extremely promising warning shot for the material from the project that’s yet to come.

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13. American Wrestlers – Kelly

Clever in terms of production and overwhelmingly strong in terms of songwriting, “Kelly” is as good as understated basement pop gets. Decidedly grimy aesthetics inform the character of the verses before the band cleans them up with a monster of a chorus, leading a rousing stylistic back-and-forth that somehow manages to find the perfect complementary balance. “Kelly” isn’t just one of the year’s catchiest songs- it’s also one of its deadliest.

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14. Chastity Belt – Joke

Chastity Belt is a name that’s been showing up on bigger publications with increasing regularity and that ascension in popularity is only outmatched by one thing: the band’s own internal ascension in terms of both identity and songwriting. NPR even feature the record “Joke” was taken from on its much-celebrated First Listen series. While that record still stands as a great record, “Joke” is its best moment- one that finds Chastity Belt comfortably settling into their comfort zone and exploiting it for all its worth. Chastity Belt’s never sounded more comfortable and they’ve definitely never sounded this powerful.

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15. CARE – Pamela

Easily one of the best submissions to land in my inbox all year, CARE’s “Pamela” is a multicolored, multi-faceted indie pop tune that comes laced with trappings indicative of a DIY ethos. Heavily melodic, reverb-tinged, and sharply energetic, “Pamela” comes off with a wide-eyed intensity that only furthers CARE’s promise. Length never becomes an issue as the song floats along effortlessly at its own pace and consumes the listener’s attention in the process.

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16. Krill – Foot

Last time Krill earned a feature in this list, all I said was “Krill forever”. This time around, all I’m going to say is Krill forever.

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17. METZ – Acetate

METZ’s self-titled record remains one of my favorites from this decade for the amount of punch it managed to pack in a relatively short running time. Live, the band’s an unstoppable force and they’ve delivered two of the most memorable sets I’ve ever seen (the latter being part of this site’s NXNE coverage, despite not actually being a part of NXNE). “Acetate” is the first look at the band’s upcoming record and it seems as if the band’s intent on raising even more hell than they did the first time around. Get on board or get the hell out of their way because if “Acetate” is any indication, their only direction is full-steam ahead.

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18. Dogs On Acid – Flushed

It’s been a good past few months for Dogs On Acid. At the end of last year, the band’s self-titled earned a spot on this site’s Best 7″ Records of 2014 list and since then, they’ve signed to Asian Man Records. “Flushed” is the first look at new material from the band and it’s immensely promising. All of the band’s early charms are still fully in tact and they’ve tightened their grasp on dynamics. Whip-smart lyrics and a fine balance between basement punk and basement pop elevate the band to heights that others spend careers struggling to reach.

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19. Pupppy – Beans

One of 2015’s most intriguing emerging acts is Pupppy, whose recent endorsement from Father/Daughter Records bodes very well for what they have in store for the remainder of the year. As a first glimpse, “Beans” does exactly what it should; introduces us to a band that’s good enough to spur a desire to get to know them better and achieves this on the back of an absurdly enjoyable single. Light in all the right places, with just enough fuzz to give it a jolt of energy, “Beans” is one of 2015’s loveliest surprises.

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20. Lost Boy ? – Hemmorage

Had Canned been available to stream anywhere at the end of last year, it would have been towards the very top of our Best Albums of 2014 list. Up until recently, it’s only existed on cassette tape- and that tape’s become a permanent staple of my collection. It’s irreverent, it’s damaged, it’s off-kilter, and it’s the band’s finest work by a long shot- no easy feat, considering their discography’s been unblemished. “Hemmorage” is one of the many songs on Canned that work their way into the listener’s subconscious, loaded with memorable hooks and exceedingly intuitive songwriting. “Hemmorage” is all verve, all bite, and it’s damn near perfect.

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21. Joanna Gruesome – Last Year

Joanna Gruesome are a band that continue to defy expectations and a band that continue to get progressively better with each release. They were all over our year-end coverage in December and January, which is a trend that could easily be repeated this year, especially if- fittingly enough- “Last Year” is any indication. Maxing out the band’s penchant for noise, “Last Year” features some boldly atonal selections that come off like an especially jarring uppercut. Vocalist Alanna McArdle has never sounded more pissed off as she does in the first verses or more at peace than she does in the sections that follow. Electrifying and deeply impressive, this is the kind of music that deserves to be celebrated as loudly as possible.

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22. Westkust – Swirl

A sister band of Makthaverskan, Westkust excel in similar territories but with a noticeably heavier bent. Decades worth of influential genre touch points can be readily found on “Swirl”, the song that firmly announced the band’s arrival. Shoegaze guitars, post-punk bass, no wave synths, and new wave production aesthetics all make “Swirl” impossibly accessible and, more importantly, they’re blended in a way that makes the track unmissable.

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23. Speedy Ortiz – Raising the Skate

In a few weeks’ time Speedy Ortiz will release their heavily anticipated Foil Deer full-length. In advance of the record, they released three songs. All three were absolute monsters deserving of year-end mentions. While both songs that aren’t “Raising the Skate” are genuinely that strong, “Raising the Skate” gets the nod hear for a few things: one of the year’s best choruses, the best use of production the band’s ever managed, and its sense of liveliness. More than just about any other song, “Raising the Skate” is a song that makes it sound like Speedy Ortiz is allowing themselves to revel in the sheer joy of making music.

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24. Fred Thomas – Bad Blood

All Are Saved is one of 2015’s strongest records so far and nothing that’s come out this year has been as devastating as Fred Thomas’ “Every Song Sung To A Dog“, a direct ode to a dog that Thomas had loved for years while he watched him slowly die over time. No record this year will have an opening track as song and, hell, their might not even be a song over the next eight months that’s even remotely comparable. So, that by the time “Bad Blood” rolls around and All Are Saved hasn’t buckled under the weight of its opening track is a testament to its strength. “Bad Blood”, perhaps more than any other song on All Are Saved. indulges Thomas’ more experimental side but loses none of the songwriters considerable appeal. Immediate and attention-grabbing “Bad Blood” is one of 2015’s more unique entries and it lands with the force of a million consecutive blows, joining a small slew of others that help cement All Are Saved‘s position as an unlikely classic.

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25. Bill Fay – Something Else Ahead

Not a lot of people can sound as despairing as Bill Fay. Utilizing a lifetime’s worth of experiences and weary tones to maximum effect, the legendary songwriter made a small return earlier this year with the haunting “Something Else Ahead”, a gorgeous tune that balances the lines of hope and hopelessness as effectively as Tom Waits does at his absolute best. It’s a fitting conclusion to this list and a promising look ahead towards what Fay has planned for the rest of the year. Relegated to only one place for streaming, it wasn’t exactly omnipresent when it surfaced- don’t make the mistake of allowing that seclusion to let it go unheard. Follow the link below to get your heart held and broken.

Listen to “Something Else Ahead” over at NPR.

6 Comments

April 3, 2015

Waxahatchee – Under A Rock (Music Video)

After the Downies review and accompanying round-up ran yesterday, the plan that was laid out in the introductory paragraphs was set in stone. Then today happened. Over the past few months, the sources where I turn to for material increased- as did the amount of emails I’ve been receiving. Every day, I’m finding roughly twenty things I wish I could dwell on for paragraphs. Contesting that desire is the harsh reality of time- so a few adjustments are going to be made. I currently have more than 250 songs from 2015 to link on the site so I’ll be providing lists of 75 (and one of 25) until that number’s brought to 0. It’ll be an additional part of what- as of tonight- will be regular daily coverage of new content. By the end of next week, things should be back to their normal pace. It’s been a difficult, transitional time but it killed me to force the site into relative inactivity over the months following the 2014: A Year’s Worth of Memories project (and once again, I’d like to take the time out to sincerely thank all of that series’ incredible contributors- I’m sincerely grateful for your work).

Getting back to what matters, the material to have surfaced today has only reaffirmed the fact 2015 has been an absurdly strong time for music. For full-lengths, there was a powerful self-titled from American Wrestlers and a feral 7″ from recent Don Giovanni act Pinkwash. Music videos had even more to offer with Kopecky unveiling a charming lyric clip for “Quarterback“, Crushed Beak’s astonishingly lovely “History“, TOPS’ unnerving animated adventure in “Driverless Passenger“, BETS’ artful black-and-white tryst in “Jenny“, and Froth’s blistering “Postcard Radio” (which very nearly earned today’s feature spot). Most of all, though, there were songs. Site favorites Speedy Ortiz raised expectations for their forthcoming record even higher with the gnarled “Puffer“, Total Babes (who feature Jason Gercyz of Cloud Nothings) unleashed the spiky “Heydays“, and Slonk Donkerson reveled in a heavy sludge influence on “Painted From Memory“. Death Valley Girls looked forward to warmer weather with “Summertime“, Hip Hatchet wove a delicate folk tapestry with “David’s Wolves“, while Meg Baird followed a similar pattern with “Counterfeiters“. Wave & Rome demonstrated an increasingly tired genre’s potential with “Across the Map” while The National demonstrated their propensity for an elegant consistency via the Sharon Van Etten-assisted “Sunshine On My Back“. Rounding everything off was Yazan’s rousing “Tell Me Baby” and Creative Adult’s hypnotically bleak “Ring Around the Room“.

While every single one of those is worth some level of investment, there’s just something about seeing your friends having a good time that elicits an inexplicably great feeling that’s impossible to sideline. Which is precisely why Waxahatchee‘s new video for “Under A Rock” is falling under tonight’s most meticulous level of scrutiny (and most thorough level of affection). I’ve long held a fondness for videos that celebrate lo-fi, VHS home video aesthetics. There’s a certain sense of time and place that accompanies the aesthetic, which winds up being a perfect match for the subtle sense of nostalgia that permeates all of Katie Crutchfield’s work as Waxahatchee. As one of Merge Records’ newest artists, Crutchfield and her collaborators have started off- predictably- on an extended series of grace notes. Now that NPR has verified Ivy Tripp is as incredible as its previews suggested. It’s fitting then, that the footage that comprises “Under A Rock” feels like a hard-won victory lap. From the lineup that performs the song in the video (it’s difficult to see Allison Crutchfield join her twin and not be reminded of Bad Banana or PS Eliot, two bands that meant a lot to me as I started exploring DIY punk’s fabric nearly a decade ago) to the faces in the crowd (Radiator Hospital‘s Sam Cook-Parrott and Cynthia Schemmer are always a welcome sight- as are the innumerable other familiar faces to appear throughout the clip), “Under A Rock” feels like a homecoming celebration built on mutual fondness and respect- which is a trait that this site will always support.

Watch “Under A Rock” below and pre-order Ivy Tripp from Merge here. Below that, explore 75 great songs from 2015’s first quarter that caught my ears (a few of them are on records that are already out but they’re definitely worth revisiting). Enjoy.

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Treasure Fleet – Settle Your Mind
Frankie Teardrop – Get It (Kelly)
Alright – Cold Feet
Erase Errata – History of Handclaps
Modest Mouse – The Best Room
Computer Magic – Shipwrecking
Toner – High & Dry
Der Weg Einer Freiheit – Requiem
Bully – I Remember
clipping. – Summertime
The King Khan & BBQ Show – Illuminations
Seratones – Chokin’ On Your Spit
Rye Pines – Pessimist
Los Angeles Police Department – Insecurity
Johanna Warren – Less Traveled
Mac McCaughan – Lost Again
The Amazing – Safe Island
Death – Look At Your Life
Outfit – Genderless
Lord Huron – The World Ender
Torres – Strange Hellos
The Cribs – Different Angle
Downtown Boys – Monstro
The Twilight Sad – The Airport
Torche – Loose Men
Will Butler – Madonna Can’t Save Me Now
Cillie Barnes – Facework
Dead Heavens – History in My Hands
Blood Sister – Ghost Pussy
Bright Like The Sun – White Lights
Peter Doherty – Flags of the Old Regime
The Babies – Got Old
NEEDS – The Only Good Condo Is A Dead Condo
The Mountain Goats – The Legend of Chavo Guerrero
Ava Luna – Billz
Braids – Taste
Marriages – Skin
Pope – Let Down
Obnox – Menocause
Andy Gabbard – Octoman
St. Vincent – Bad Believer
Nude Beach – Been Waitin’
Mexican Slang – Fever
Never Young – Like A Version
Simon Joyner – You Got Under My Skin
Sun Kil Moon – Ali/Spinks 2
Stalls – Tooth and Nail
Nano Kino – Never Seemed to Happen
TULA – River
In Tall Buildings – Bawl Cry Wail
Frank Black – How You Went So Far
Troy Samuela & Monsoonsiren – Fiend
Passenger Peru – The Best Way to Drown
Girlpool – Ideal World
RA – These Days
Native Lights – Blue Star
Soft Cat – Somebody
Steady Lean – Atkins
A Place to Bury Strangers – We’ve Come So Far
Gill Landry (ft. Laura Marling) – Take This Body
Aero Flynn – Crisp
Calexico (ft. Ben Bridwell) – Falling From the Sky
Lieutenant – Rattled
Laura Marling – I Feel Your Love
Dave Segedy – Car
Jet Setter – Forget About It
Paridolia – Violent I
WAND – Reaper Invert
Young Guv – Crawling Back to You
Chromatics – I Can Never Be Myself When You’re Around
Inventions – Peregrine
Thee Oh Sees – Web
Honeyblood – No Big Deal
Warehouse – Promethean Gaze
ADVAETA – Hazel/Blue Eyes

2 Comments

January 23, 2015

2014: A Year’s Worth of Memories, Pt. 6

It’s been an insane project to run and I’ll hate to see it go but it’ll draw to a close soon. Not today, though. In the penultimate 2014: A Year’s Worth of Memories, another colorful collection of contributors touch on the moments and memories in music that meant something to them throughout the course of 2014. In this round, Patrick Garcia recounts the long process of getting Protomartyr to McAllen, TX, Athylia Paremski navigates around the people she grew to love by turning to their lyrics, Joseph Barchi shares some thoughts about the artists to find the strength in himself, Phil McAndrew relays some very just familial pride, and Johanna Warren waxes poetic about the power of The Moon. All of the pieces are moving pieces that aptly showcase some wonderful personalities, settling in perfectly with the spirit of this project. So, with no shortage of affection for everyone involved, it’s my honor to present (the second-to-last): 2014: A Year’s Worth of Memories.

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“Capitalized in this Town”

“If by chance [our] drummer loses his job, explodes, or gets more time off, I’ll let you know”

This was the last sentence in an e-mail exchange between Protomartyr’s gruff-voiced Joe Casey and myself, but it wouldn’t be our last exchange. It happened in early Spring of 2013 when I took on the trepidation of trying to convince Protomartyr, based out of America’s ashen symbol of industrial heartbreak, Detroit, to play a show in the socio-economic scapegoat of ‘the border crisis’ that is South Texas, or, McAllen, TX, where I live and feverishly book shows.

I had only been recently turned onto Protomartyr by a roommate who wrote for Get Bent. He regularly received a dump of new music in his inbox to review each week and decided to put ‘em on one morning while I was burning some hash browns for breakfast. He clicked play on the record and “Ypsilanti”’s ruffian guitar line ripped out through the living room speaker. I was floored. We listened to the record on repeat over coffee for a good portion of the morning when I decided I needed to know more about this band.

I propped up my old laptop and sprung from tab to tab on my browser while the rest of their album, All Passion, No Technique, tumbled and wrenched in the background. I soon found Protomartyr’s social media presence- at the time, surprisingly updated and consistent. The band didn’t seem to have much ‘press’ at the time, but they did have the black and white printed kiss of approval from MRR, of which the band took a photo, shared on their Facebook profile, and, accordingly, received 9 likes. This was a great sign. The vibe of this band was clear- they were doing this themselves, and this became even more evident when their booking contact was simply listed as the band’s own gmail account- a sigh of relief for a promoter such as myself. Real communication between a band and a show booker is a golden thing, as even most DIY centric artists eventually cave to having a booking agent just before their secret is out.

So I did it, I e-mailed the dudes. Nothing special, just a quick hello and interest in booking a band from Detroit in McAllen TX. It made sense in that it didn’t make sense. Detroit, an ongoing media scapegoat that’s branded as being this disheveled, broken-down industrial shard of hope. McAllen, a border town 250 miles south of Austin on the southernmost tip of Texas, or, a market completely and geographically out of the way for any band touring the states. McAllen is regularly ranked #1 by shoddy socio-economic research for being consistently the poorest, the least educated, and un-healthiest city in the blood red state of Texas. The idea of connecting Detroit and McAllen became alluring. It’s like a marriage of two cities, or myths, both with huge socioeconomic issues, both with huge problems, both with huge, battered, cultural souls.

I didn’t type any of that in my e-mail to Protomartyr. It was the total opposite, short, and to the point, and as with many e-mails I’ve sent into the dark to smaller bands, I expected it to fall on deaf ears, either in an un-checked inbox, or, worse, read and left for dead in a digital stack of read messages.

Within the day though, Joe Casey, Protomartyr’s vocalist, had responded with interest. Casey was humbled and wrote out praise and thanks, but also expressed what was not surprising, though sincere and great in its reality: Protomartyr was, refreshingly, a band tied down to day (and night) jobs, and reluctantly couldn’t tour, at least at the time. This response was refreshing to me because, in today’s contemporary realm of music, more than ever the idea of ‘indie’ or being ‘independent’ couldn’t be a more golden fleeced balloon for artists who can afford to live the part, be branded as the part, or sell the part to an even wider expanse of ‘indie’ consumers, without having to necessarily work, or work for it- it’s weird, but it’s true. So many bands are composed of lucky individuals who can afford to tour or make music all day. This is not a bad thing but it’s also not a reality for many. Protomartyr, in the exchange I had with Joe, came off as definitely not having this privilege, unfortunately, and- arguably- fortunately. I keep seeing fortunately because I guess I’m used to working with so many artists who have earned, or been granted, the opportunity to pursue full time careers in music, and become total assholes. Given, an artist owes fans nothing, but I also can’t say I haven’t noticed a correlation between artists more financially strapped to working class realms being nicer, more humble, and more enthused to play shows. What happened shortly after this exchange, though, would be the rolling out of what I could only imagine as being a bizarre dream for a genuine indie band- organic growth and awareness.

In the months since the exchange, Protomartyr started getting attention, and they were doing it without polished videos, or for a paid sub-tier Coachella slot, or for the handwork of a well-seasoned publicist. It began to sink in – they were pretty much living that coveted fable of a band getting discovered and praised for being just that- a great band. Likewise, with their growth, their fans who were there from the start also began to feel that slow burn of anxiety and satisfaction: here is a band, shadowed and great, now being awkwardly forced out into the laptop spotlight of new fans and listeners clicking across a Protomartyr YouTube video or six month late pitchfork review.

Like clockwork or karma or whatever, the opportunity presented itself: Protomartyr would do a weeklong stretch at SXSW with McAllen being a possibility in the days before the fest. Casey and I began the conversation- but it became apparent that the band was still very much not a full-time endeavor- and by full time, I don’t mean they weren’t living and breathing their band, I mean most of the dudes still had jobs that didn’t provide the luxury of asking for weeks off at a time for tour. This was the context for Casey’s quote above, which provided a deserving jest in response to my persistence and refusal to lose out on the opportunity to book a band I had seen grow into a larger consciousness. Their drummer was anchored in and couldn’t get the extra date for a McAllen gig, and alas, the band would not be able to make the trek south to McAllen this time. In an awkward stream of e-mails, Joe and I both apologized for being misread, me on my stubbornness, Joe for being Joe without me knowing Joe. At the time, it felt like I had just a let balloon go by accident that was floating beyond my grasp and I was frustrated at the idea of this band, which owed me nothing, floating out of my grasp to better things. Thankfully, the exchange I had with Joe resonated, and when the band eventually embarked on a tour through the south again shortly afterwards in May, I would finally land them.

The show happened on May 29, 2014 at Cine El Rey, a venue built in the 1940’s that was originally a movie theatre that catered to the segregated Hispanic and Chicano populations before the advancement and effects of the Civil Rights movements of the 1960’s. The theatre has major history, which is often overlooked by most artists out for the book, but reveled with most- like Protomartyr, Shabazz Palaces, and Laura Jane Grace- who cherish the humanities. The band played on the balcony to a packed space and delivered a steady shelling of post-punk shimmer and grit. The crowd that night was full of movement, chants, and was leveling and volleying the energy the band exuded. It was great, and on several occasions I recall Protomartyr’s drummer squinting with a befuddled smile at the kids thrashing around, myself included. At the end of the night the band, beaming alongside their new fans, kept it real and stayed over at my place after the show.

So many bands travel to weird places while touring but very rarely do bands want to come to a place like McAllen, TX. It happens, but it’s rare, and it’s a huge financial, physical, and logistical burden on artists who aren’t doing this for huge guarantees and clam chowder at the right soupy temperature. Scoring Protomartyr in South Texas was my favorite moment of booking in 2014 because, like with the band’s notability, the booking itself came into a slow, frustrating, but eventual, well-deserved fruition based off persistence and timing. More importantly, though, is that they- again a punk band that came out of Detroit’s underground- made a nationally shadowed city feel illuminated.

-Parick Garcia (Tiger’s Blood)

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2014 in Lyrics

Each day my heart grows fonder, one day ill be your small wonder
“Until I Open My Wings” // Small Wonder

We live for a second only, and then we’re claimed by the atmosphere
“For Rock Dove” // Bellows

And I don’t mind that you are not like me because I don’t feel like I’m a lot like me
“Pine Tree Lines” // Told Slant

Wouldn’t this be easier, no it never would, wouldn’t this be better, no wait it never could
“Two Ativan” // Florist

I had something to tell you but I forgot it
“Fire in My Eyes” // Yours Are the Only Ears

But that sunset never left your mindset
“Gemini” // Sharpless

Nothing in this world is holier than friendship
“Broken Necks” // Eskimeaux

Though I only just met the core of The Epoch early last year, they are friends that I have learned much from and hope to continue learning from in the years to come. This also goes for any and all souls surely associated with The Epoch. Though already timeless, I feel 2015 is truly going to electrify the epoch’s takeover because of their proper knack of cultivating all that is good. I eternally appreciate every last one of their existences and wish them warmth and comfort always. One of my favorite memories in their realm is a morning jam session complete with henry and Oliver singing southern twang style on-the-spot songs, Felix grooving on a banjo-head guitar, Emily taking a break from woodworking to make some breakfast, gabby and jack playing around with Gabby’s new spy cam, and hopeful thoughts of Susannah coming home from work to hang in her lovely studio. I am very grateful to have stayed at the Epoch haus the times I did, to have witnessed the beauty of their routines, and to have left with pure inspiration.

So many voices stronger than mine
“To Hold” // Sea Oleena

Charlotte Oleena is a human that i have not yet had the lucky chance to cross paths with yet, except in our dreams. Her spirit and the way she creates the most blanketing atmospheric sounds, especially in shallow, are one of the most breathtaking and inspiring things I could think of. I owe her a good cup of tea and some moon gazing hopefully someday when life allows.

I do what I have to do this is when I say my I love you
“My I Love You” // Frankie Cosmos

When I stay still, I can still feel my body inside of my body
“I Do Too” // Frankie Cosmos

Cause time moves slow, it moves for you to have time to grow
“U” // Frankie Cosmos

Greta Kline is one of the funniest and most welcoming souls I was lucky enough to catch early last year as well. We met in Boston at a show right after we had done our steep sounds art exchange interview. Meeting her and gabby was really lovely and conversations of dogs and good things are never-ending with these too. I was also taught some very secret games and at another Frankie show, we all bonded over a bunny. Frankie Cosmos, Porches., and Eskimeaux have all been eternally stuck in my head ever since.

You think you know me well, I thought I knew myself
“DBTS” // LVL UP

All of the lads (Mike, Greg, Nick, Dave) in LVL UP are spectacular beings doing spectacular things. Now is a good time to mention, Double Double Whammy is one of the most superb labels of all existence. Additionally, David Blaine’s The Steakhouse is also a very cool space doing very cool things and I hope it continues to bring joy to all. Hoping the new year brings more time to hang out in good spaces with these kind folk.

And I see you happy, it warms my heart
“Cold Apartment Floors” // Vagabon

Laetitia is such a gorgeous soul and I am excited to see all the good she will surely accomplish this coming year.

I always wanted to die clean and pretty but I’d be too busy on working days
“Last Words of A Shooting Star” // Mitski

To me, Mitski is world domination.

Running your hand over the piano keys absentmindedly as you pass by
“There is Only You in the Light and Nothing Else” // Ricky Eat Acid

Confronting the fear that lives in your chest
“Altars” // Foxes in Fiction

I was lucky enough to hang out with both Warren and Sam a few times this year as they came through to play shows and stayed with me. All of the work they did last year is beyond astonishing and they are both two of the most honest, kind, and real humans out there. They care they take in creating active, supportive, and beautiful environments and ambiances is everything. That being said, everything orchid tapes releases is a piece of art itself and the principles fueling this label and labor of love are just as important. One of my favorite memories of these two is Sam playing around and writing something lovely on guitar and warren devotedly working on his computer as the room fills with the scent of lemongrass and ginger.

Success for my buddies, success for my friends
“Harvey” // Alex G

Living in the age of Alex G is simply something I feel lucky to be able to experience. The several times I have been lucky to hang out with these souls (Alex, Sam, John, and Dexter) and to experience these lyrics and songs come to life echo in my mind always. I honestly could not imagine this line any other way besides leaving the lips of every person in the room singing along with every word.

I will go to sleep still believing
“No More Sad Songs (N.M.S.S.)” // Elvis Depressedly

Mat and Delaney (as well as Elvis Depressedly mates Eric, Noel, and Justin) stayed with me a few times this year as well and getting to know them more closely has been really nice. They are truly some of the
most kindhearted and honest human beings i have come across. New Alhambra is so pure and an absolute reflection of being completely true to one’s self.

I don’t know you but I feel like I know you
“Hope U Nevr Hear This” // Couples Counseling

Virginia is another human who made last year especially special to me. Her music, tours, art, cassette creations, and overall existence truly is integral to the inner workings of the world. If you have not discovered this yet, I hope you can do so soon.

I couldn’t say if I was awake, I watched my body taking up space
“Prism” // Porches.

I love you at top of the tree,  I lay down to have  two dreams
“Forgive” // Porches.

Aaron Maine is a remarkable human and Porches. is everything. When I met him and Greta together, I was reminded of simply good ol’ humble human respectfulness and kindness. All old Porches. songs are very important life lessons, and all of the new porches will forever reinforce these ideals and only allow for more goodness and learning.

And all I wanted was to hold your foot but I couldn’t imagine how I ever could
“Foot” // Krill

Krill is forever and I hope to see them again soon in Boston. I remember hearing this song for the first time on a radio show recording that Jonah did and have been ever so excited for this upcoming record since. I recall several Krill sets from the past year and each one is filled with pure rejuvenating energy. Every time I see krill, it is very good and I recommend it to those seeking to solve internal conflicts.

Don’t let it matter at all
It’s not your fault
I know what it feels like on the floor
what it feels like

They wanna hurt you
because they’re hurting too
Don’t let ‘em inside your head
They’ll take control of everything you’ve ever loved and did or wanted to be

Doesn’t matter what they said
‘cuz they are fucking dumb
don’t let ‘em get you now
you’re the coolest kid around
“Wake Up” // R.L. Kelly

I got to meet and hang out with Rachel two times last year and that was not enough. The latter night was simply endless hugs, happiness, love, dollar store escapades, piggy back rides, life, and all that is good in the universe. Rachel is a connoisseur of cheer and truly every one of her lyrics and the entirety of the brown horse split (with Spencer Radcliffe) is meaningful and important, but this song is especially crucial for your soul.

~ ~ ~

2014 was filled with the eyes, hearts, kind words, and embraces of so many people I hope to keep close to my soul. The list of lyrics I’ve kept in my heart from this past year along with the memories cherished are quite extensive. Though I am missing many more important words and humans, I hope some of these help you like they have helped me. Good spirits live on in words and sounds, and when coincidence or life allows certain paths to cross, that should be used to make something special if possible. It is not the records or shows, but rather the significance of the people and words that defined last year for me. The lyrics above renew so much for me. As I reminisce, I wanted to share some of these with you and hope that they inspire you to make or do something you want to do. 2015 should be about spirits inspiring other spirits to be most true to the good inside them, for people to get a grasp on how to better the world we live in, to appreciate small things you might have overlooked in the past, and to support the people who need it the most.

-Athylia Paremski (Steep Sounds)

A Love-Shaped Year

2014 was a year of love for me. I fell in love with a boy for the first time, but more importantly, I learned Perfume Genius released “Queen“. When I first heard it, I wasn’t impressed. It didn’t strike me the same way his earlier songs had. I listened to it once and then went to work. I spent the next six hours obsessing over it. “NO FAMILY IS SAFE WHEN I SASHAY” ran through my head on an endless loop. I went home and listened to the song for six hours.

Within that video and song I found courage. I found anger. I found a hymn and a battle cry. I was going to wear what I felt confident in, no matter how uncomfortable it made the straight people around me. I found a new sense of self love within Queen. It felt revolutionary to be able to look in the mirror and love parts of what I saw. I saw Perfect Pussy at Pitchfork that summer, and when some asshole decided to punch me in the stomach, I didn’t cry. I was in a crop top and short shorts and a really great shade of purple lipstick. My immediate reaction to being punched was to vomit directly onto his face. I could feel Meredith’s vocals pound into me. I felt my fist connect with the bro’s face.

I felt a righteous anger bolster me. I felt confidence. I screamed in his stunned and vomit-covered face. He walked off in a bruised and disgusted daze. I felt immediately exhausted, and empowered. Perfect Pussy’s set raged on. Meredith was a force of nature onstage. I could feel her power radiating on stage. I took some of her power with me that day. I carry it in my fists and I carry it in my mind. I have it as a constant reminder that if a boy decides to fuck with me, I am not defenseless. I am loved and I am powerful.

The other big moment of love was falling in love for the first time. It was all soundtracked by Mitski. The night I met him, for the sake of anonymity let’s call him Matt, was the night I saw Mitski for the first time. I had never listened to her before. I was at the silent barn CMJ showcase. I was wearing my favorite button down with little Dalmatians on it. I had been awake since five AM. I was exhausted and anxious and hoping to be kissed.

Mercury was in retrograde, and it was Drake’s birthday. It was set to be an incredible evening. I was standing in the back holding Matt’s hand when Mitski started her set. We had walked in from the outside late and the second we stood still to listen, everything stopped. Maybe it was the lights, or the boy pressed up against me, or the pot brownie, but I felt myself wrapped up in a romantic little haze. Mitski was so stunning I actually felt like I couldn’t breathe.

Matt and I kissed for the first time during “Townie“. I kissed him, something I never did. I don’t take risks when it comes to boys. I’m always terrified I’m being too intense, but in the soft light of the silent barn, being intense felt like the only option. We kissed as Mitski sang “I WANT TO KISS LIKE MY HEART IS HITTING THE GROUND” and holy hell did I.

When Mitski sang “I’m writing this at three am” I felt understood in a ridiculously cliché way. I was always writing about boys at 3 am. I was always trying to find my voice at 3 am.

Matt and I talked about Mitski’s set for the rest of the night. I started falling for him in the back of that crowd and I didn’t stop until I hit the ground. Before Matt and i inevitably ended things and I had my heart shattered, we saw Mitski together for a second time.

I just had finished my last final. I got in my friend’s car and we drove the four hours to Brooklyn. Mitski and I had talked a few times on social media, and she was kind enough to put me on the list for the show. I felt a moment of self-love and power during her set that I had never felt before. She played “I Don’t Smoke” for me and I was given the opportunity to scream every word in Matt’s face.

Let me tell you, yelling “I AM STRONGER THAN YOU GIVE ME CREDIT FOR” in the face of the boy who is ripping out your heart, is one of the most empowering moments a person can have. Two weeks later Matt and I still hadn’t ended things. Christmas day we sat in my friend’s car listening to Radiator Hospital. We were making out and I at one point stopped to sing the words “I didn’t want this to mean nothing”. It felt cathartic to finally hear someone say what I had been hiding.

Even after Matt and I ended things, I found comfort in returning to Bury Me at Makeout Creek. It was the soundtrack to my first love- but it had also become more than that for me. I think that’s one of the greatest things about really truly incredible music. No matter who shows it to you, no matter what memories are attached, if it is incredible, all of that fades away. Then it’s just you with this person’s words. Mitski’s words helped make 2014 a year of love for me, but more than that, she helped make it a year of power.

-Joseph Barchi (@theyarenotaboy)

A Family Reunion

Holy shit. I’ve had a lot of great music experiences this year, many of them not just favorite music experiences of 2014, but favorite music experiences of my entire three decades on planet Earth.

My favorite music experience of the year was definitely on Friday, April 4. I got to watch my two younger brothers play a sold-out show at Death By Audio in Brooklyn, New York. For my brother Ray and his Perfect Pussy bandmates, it was a record release show for their critically acclaimed Say Yes To Love (their first full-length album). It felt like a triumphant homecoming after their first insane five or six month United States tour (all practically non-stop). My brother Tyler and his old band Sarongs, a band that I’ve desperately missed, reunited just for this one show, to open for Perfect Pussy along with two other upstate New York bands: Friendless Bummer and Green Dreams.

Sarongs hadn’t played together in a few years, the members having all left Syracuse, scattering to different cities. But they sounded as if they had never stopped. I’d only ever seen them play in basements and living rooms in Syracuse (I’m not even sure if they ever played anywhere that wasn’t a basement or living room in Syracuse), so seeing them play as part of a sold-out show in Brooklyn was really great. Sarongs was the only band I was aware of that was doing amazing, surprising things in Syracuse, NY in 2010.

I left Syracuse for California in January 2011, right around the time that Sarongs dissolved, and then came back to Syracuse in the middle of 2013, right around the time that Perfect Pussy started exploding. It was a great show, all family ties aside. Sarongs and Perfect Pussy are two bands that I can say with a lot of certainty that I’d love even if my brothers weren’t members. But the family ties made it really special. It was the first time in a while that all three McAndrew brothers were together in the same place. There were so many friends at that show. My parents were there as well as most of the Perfect Pussy band members’ parents. It was the most insane, energetic, heartwarming show I’d been at in a long time. There were a lot of big, happy hugs and high fives. It was also during this weekend in New York that Perfect Pussy and I first talked about working on something together, the result of that being the comic book that doubles as packaging for their brand new 7″ split with Joanna Gruesome. Working on that project- and later getting to hang out with Joanna Gruesome and see them play with Perfect Pussy- would definitely be a close second for my favorite music moments in 2014.

–Phil McAndrew

A Devoti0nal Offering to The Moon

I’ve been feeling overwhelmed by the task of singling out one moment from what has been unequivocally the most magical year of my life, so I’m just going to write about today, because today makes as good a subject as any other day, everything is a metaphor for everything else, every breath contains the whole universe, etc.

I’m going to write about today, even though today was actually a really hard day. It’s a counterintuitive move, given how many moments of unadulterated bliss occurred in 2014, but one that feels deeply appropriate, as I attribute the splendor of my year in no small part to actively cultivating a sort of alchemical theme in my internal processes. I am learning to exercise the power of my own mind to shape my experience. When a challenging situation arises, I look for the lesson; when I get snagged on a thorn, I find the rose. I am learning how, within my own heart, to transmute destructive emotions like fear and anger into their opposites: love and gratitude. For instance, if my best friend doesn’t text me a rainbow of emoji hearts on my birthday tomorrow, I might experience feelings of abandonment, resentment and self-pity. Whereas in the past I might have latched onto those emotions, become convinced that my friend doesn’t love me, and let myself get sucked into a vortex of misery, I would now make an effort to sit with those feelings and realize my friend is probably just super busy and the real issue is that I’m attaching my self-worth to external validation because I’m not loving myself enough. So I say, “Thank you, friend, for pointing out to me the work I have to do on myself.”

When you take on this kind of work, amazing things start to happen. Sometimes it almost feels like the most challenging days become the best days, because you learn so much. So, here’s to today, which was a highly educational day.

I had trouble sleeping last night. My brain kept looping the highlights reel from what has been an outstandingly difficult and draining week. I sprang out of bed at 8:00 a.m. and started frantically throwing things in my backpack, all the while hearing my higher self trying to steady me- “Slow down, breeeeaaaathe”- but masochistically letting anxiety take hold and almost reveling in the horror of what was escalating to a full-blown panic attack. My usual grounding morning rituals were thrown to the wind. I was a runaway train.

I barreled out the door and into my car and slapped on a façade of cool, calm collectedness before picking up my incredible friend and collaborator Jess. She and I were driving upstate to make a music video about The Moon in which I was going to be mostly/entirely naked and possibly/definitely dancing. Nothing was set in stone- all I knew was I had two tubes of body paint, a disco ball, and a vague yet strong feeling that I had something to heal.

Earlier this week I realized how quickly the shoot was coming up and started feeling a little panicky about my lack of a plan, so I pulled up a few Kate Bush videos and started strategizing my approach. Right off the bat I came upon three major issues: 1) I have no notable dance skills or experience 2) I have some very charged feminist sensitivity around semi-nude dancing, and 3) my struggles with self-love have historically manifested themselves as cruel, compassionless objectification of my own body. Thus, the thought of showing considerable skin and conceivably shaking it, on film, called forth a broad spectrum of emotional responses ranging from abject terror to ecstatic triumph… which is generally how I know I need to do something. The way I see it, those squishy, tender, uncomfortable emotions are just big neon markers for wherein lies the stuff that needs healing- after all, “the edge is where the action is,” or so say some permaculturists and yoga teachers (and, I hope, U2’s The Edge, pre- and/or post-coitus).

So, around 3pm today I found myself completely naked, painted white from head to toe like some ritual sacrifice, standing on frozen mud in a beautifully decrepit old horse barn, convulsing with full-body shivers as my own voice cooed from my laptop speakers: Don’t be drawn to me; I may be here today, but soon black moss will cover over my dead body. I sang along, teeth chattering and lungs constricting in frigid spasms, waving my arms in awkward jerking motions and feeling like a frightened, wounded rabbit who was losing a lot of blood very quickly.

Jess, benevolent angel that she is, suggested that we go inside. Flooded with relief, loss and defeat, I stumbled out of the barn, feeling a deep well of buried grief and stress steadily rising to the surface. As soon as the warmth of Jess’s parents’ farmhouse wrapped around my numb flesh, something broke. I sat down in a chair and wept.

This video was to be, as my forthcoming album is, a devotional offering to The Moon, with whom I have been in intimate relationship this year. She has been teaching me how to attune with the cycles of my body and all natural things, and to learn to embrace the darkness as well as the light, for the crest cannot exist without the trough. Although Jess and I got no usable footage today- by the time we got an indoor location set up, we had run out of time- I will forever think of the experience as exactly that: a devotional offering. Yep, here’s where that inner alchemy kicks in: today I totally failed at making a music video, but I succeeded in performing an unexpectedly cathartic ceremony of sacrifice, a symbolic gesture of gratitude for the cosmic guidance and blessings I received in 2014 and the innumerable “favorite moments” I could have written about.

–Johanna Warren

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Tag: Johanna Warren