Heartbreaking Bravery

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Tag: Julien Baker

2016: A Year’s Worth of Memories

Heartbreaking Bravery recently went offline but all facets of the site are back to being fully operational. Apologies for any inconveniences. All posts that were slated to run during that brief hiatus will appear with this note.

Once again, I’d like to start off with thanking the 2016 crop of contributors for A Year’s Worth of Memories: James Greer, Lindsey-Paige McCloy, Amanda Dissinger, Loren DiBlasi, Katie Preston, Erica Sutherland, Nicola Leel, Jesse Amesmith, Phil McAndrew, Lindsay Hazen, John Rossiter, Sonia Weber, Lily Mastrodimos, Eric Slick, Jerard Fagerberg, Megan Manowitz, Amar Lal, Phyllis Ophelia, Elise Okusami, Isaac Eiger, Alisa Rodriguez, Ryan Wizniak, Nora Scott, Natalie Kirch, and Jessica Leach. There aren’t words powerful enough to adequately convey my gratitude for your efforts, time, care, and consideration. Apologies to anyone that may have contributed something that got lost in the shuffle (if this is you, please send me a note and we can try to work something out for next year).

As you may have noticed, every single entry into this year’s edition of A Year’s Worth of Memories (this one included) either ran or is running with the disclaimer up top. At the start of the year, Heartbreaking Bravery was effectively forced into a hiatus to work out technical complications that occurred due to what essentially amounted to a correspondence glitch. All sorts of things went haywire and reconnecting all the wires was a surprisingly difficult task. A number of things got lost in the shuffle.

For a brief time, I thought about ending the site permanently but reading back through the material that was still left on the table — as well as some of the material that was posted in the past — dissuaded me from calling it quits. These pieces needed to be published and it felt important, maybe even necessary, to continue this site.

While the timing may have rendered the 2016 installment of A Year’s Worth of Memories a little less timely than I would have liked, the pieces themselves largely transcended the time capsule-style trappings typically attributed to these types of works. Many touched on lessons that seemed timeless. All of them made me question what I’d eventually choose to write about it and how I’d present it whenever I did choose. The piece I wrote last year  was outrageously long and I didn’t want to go through something that exhausting again.

Eventually, I decided the best route would be to combine some of the common traits laid out by the 2016 series: splitting the piece into four pieces, focusing on personal triumphs while making room for gnawing anxieties, visual interludes, and paying tribute to the people and events that are worth celebrating. All that and more can be read below.

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SMALL FESTS & SHOWS

2016 was the year of small festivals; I’d always preferred them to the spectacle-laden retreats that seem to dominate the news cycles every year. Many of these small-scale events I’d been trying to see for years and 2016 just wound up being kind enough to allow me access to events like FRZN Fest, Wicker Park Fest, and Eaux Claires, among others. Unsurprisingly, each held its own share of memorable frustrations and scintillating highlights. In no particular moment, here are some of the standout moments.

Chicago was atypically warm for last year’s annual Music Frozen Dancing, which saw Muuy Biien, Meat Wave, The Spits, and the Black Lips playing outdoors to a packed crowd outside of the Empty Bottle. While all of the bands were good and the Black Lips, as they always do, managed to invoke the high school memories of discovering and participating in that genre of music, nothing could’ve topped Meat Wave unveiling “Glass Teeth” from what would eventually become their next record.

Ragged and sick, the band tore into the new material with the kind of excitement reserved for new material. It was a standout moment of a day that refused to end (my friend Josh and I wound up taking three different forms of public transit after the trains stopped running) after an off-the-books Heavy Times show wrapped in the early hours of the morning. It was a surreal moment and allowed for an extended view of Chicago at night. Exhausted, content, and desperate to get back to our sleeping quarters, it was a difficult night to forget.

Months later, I’d return for the unreasonably stacked Wicker Park Fest, excited to see a long list of friends and more than a few bands that had been on my bucket list. The weather had different plans. Not only did getting turned around on the way to the fest’s first day wind up forcing me to walk a few extra miles before being saved by a generous taxi driver who offered me a free ride after the first rain of the weekend started descending, more than half of the bands I’d intended to see got cancelled because of storms on both days.

Nearly as soon as I got through the gates, I was already rushing to take shelter with a bunch of other festivalgoers who had effectively sequestered themselves in Reckless Records, which would eventually lose power and offer up a faint glow with candles set up in various parts of the store People browsed records, reading materials, and gathered by the wind to watch the storm lift tents out of the ground and send them ricocheting down Paulina St. There was an odd magic to it all.

There were bright musical spots in the midst of all of that chaos, though, including an unbelievably explosive Jeff Rosenstock set that saw the songwriter leaping over the barricade gap, guitar still attached, to crowdsurf at the end of an abbreviated set. The whirlwind nature of Rosenstock’s performance, which came after the storm delays and restrictions were lifted, felt like an appropriate maelstrom of energy; a whirlwind performance driven by some unknowable force.

Five or six songs in length, it’d wind up being the highlight of the festival. Somewhere nearby, one of the trains on the blue line wound up getting blown off the rails by the intense winds and caused festival organizers to proceed with extra caution on the second day, which was hit with an even worse run of weather.

I spent much of that day with Sasha Geffen — the fist young music journalist I can remember truly admiring — who was with me when I was forming the initial idea for A Year’s Worth of Memories and was a vital part of its finalization. We took in great, sunny sets from Bad Bad Hats and Diet Cig before the storm reappeared and spent a lot of time in a powerless Emporium Arcade. During that run — which forced cancellations of both Pile and PUP — I was also fortunate enough to meet A Year’s Worth of Memories contributor David Anthony.

The last memorable moment of that festival caught me paralyzed in between two stages, with Ought ripping into “More Than Any Other Day” on one side and Alvvay‘s launching into “Archie, Marry Me” on the other. I took in both, unable to choose between two of the best songs of the past ten years before rushing over to Ought, who had their industrial sensibilities enhanced by their backdrop, trains running along the blue line in the background while being cloaked in a calm, post-storm glow. It was a perfect way to cap a very chaotic festival.

Three more small festivals had their fair share of spectacular moments as well: Bon Iver debuting an entire record at Eaux Claires, sending chills down my spine for the entirety of “715 – CR∑∑KS” while crickets audibly chirped on the forest perimeter, their sound elevated by the reverential silence of a crowd of thousands. Tickle Torture playing shortly after that set and delivering a slew of the festival’s best moments, including a finale that saw bandleader Elliot Kozel (formerly of Sleeping in the Aviary) getting completely naked while screaming “MY LOVE!” at the top of his lungs. That day starting at the gates, listening to the sounds of an expanded Tenement lineup blowing away a festival crowd and spending that day in the presence of some of my favorite people, including A Year’s Worth of Memories contributors Nina Corcoran (who I wrote about for my piece last year) and Sam Clark (who has played in more than one band with me).

Turkey Fest’s final day had a stellar lineup boasting four great acts: Wood Chickens, Trampoline Team, The Hussy, and Nobunny, with the latter two delivering incredible sets full of ridiculous high-energy antics. FRZN Fest had more than a few moments that wound up being burned into my memory. None more frustrating than an infuriatingly chatty crowd refusing to give Julien Baker anything beyond a modicum of courtesy. None more exciting than a characteristically perfect Charly Bliss set that had me continuously grinning while singing along to songs that comprised the best EP of this current decade and will litter one of 2017’s best records.

As much as I love both Julien Baker and Charly Bliss, though, there was something about Torres‘ set that felt almost holy. Playing after a good Eternal Summers set and the best Palehound set I’ve seen to date, Torres dove headfirst into a set that alternately gave me chills, lifted my spirits, calmed me, and — almost inexplicably — at one point had me on the verge of tears. To top it all off, Torres’ goosebump-inducing one-song encore wound up being tantamount to a religious experience that included a lovely moment between bandleader Mackenzie Scott and my friend Justin. I was fortunate enough to capture that moment in full and revisit it frequently.

For individual shows, there were a number of great outings that were peppered with heartening moments lingering around the peripheries of the main event. Walking into the High Noon Saloon to be greeted with an onslaught of hugs from my friends in Yowler, Eskimeaux, and Frankie Cosmos, only to be whisked away for a coffee reprieve in a nearby shop by Gabby, Greta, and A Year’s Worth of Memories contributor Athylia Paremski, before circling back to a powerhouse show. Charly Bliss and PUP combining for what was, bar none, the most intense show I’ve ever experienced (at one point I was nearly choked out by a girl clutching the neckline of my shirt to keep herself upright in the swirling sea of chaos behind me).

As meaningful as both of those shows were, though, it would have been impossible for anyone to top an event that occurred early on in December: the official reunion of Good Grief, a band that meant an extraordinary amount to me that was nearly gone forever, taking place in Guu’s, the tavern that’s acted as a refuge for me during my various stints in my home town. People from the shows that dominated my fondest Stevens Point memories from that run all flooded in from various parts of the upper Midwest to see this take place and everyone lost their voices screaming along. Making things even sweeter: an opening set from Heavy Looks, led in part by my friend Rosalind Greiert, watching her hit a stride as both a writer and performer, and feeling an irrepressible rush of a million good feelings as I watched her come into her own in real time.

To see something like that happening (both the Heavy Looks set and the Good Grief set), surrounded by friends so close they’re considered family, engaging in something meaningful is an exhilarating feeling and a lot of people who were present are likely still feeling some of those feelings reverberations. Good Grief weren’t exactly a household name before their dissolution but they were — and remain — one of the best bands I’ve ever had the pleasure of seeing. Get caught up by watching the videos from that reunion set right here:

PLAYING MUSIC

In 2016, I had the good fortune of playing the most shows in any given year that I probably ever have in my life. In addition to finishing writing a (forthcoming) solo record, I was able to play in three different bands with people I respect, admire, and care for deeply.

The band I played with the least was the band that I’d played with the most in 2015, A Blue Harbor. Geographic complications have essentially forced us into a hiatus by the middle of the year but we were still able to play a few shows in support of the full-length we’d recorded in Minneapolis in 2015, including a local show for a pop-up art gallery for an arts collective that made me feel a surge of hope for our small town. As unlikely as it seems at this point, something tells me the things this band has to offer have been far from exhausted (and our guitarist/vocalist, Matty, has been releasing a continuous string of excellent material on her own).

I accepted an invitation to join a new band called Doorstopper and have taken up residency behind  the kit. Jarad Olson, the bassist for both Good Grief and Heavy Looks as well as an incredible songwriter in his own right, had teamed up with our friend Melissa Haack to allow her poetry a musical platform in an odd experiment that’s been paying the type of dividends that I’m legitimately not sure any of us had expected. It’s become a band whose mantra has remained — and with good reason — “let’s get weird.” It’s a band that has been given the tag “premenstrual post-punk” and it’s the type of band that takes a suggestion for a “doom-wop” song seriously. And it’s a band that hasn’t stopped getting better and more interesting with each successive practice.

While Doorstopper has been occupying itself in the shadows, building something interesting, I also found myself being re-integrated into a resurgent Holly & the Nice Lions, who played all over the state of Wisconsin in 2016, with a host of fascinating bands. Some of those bands (Bad Wig, Midnight Reruns) were made up of the people we’ve been close friends with for years. Some of those bands (Young Jesus, POPE, Mo Troper) constitute the best emerging bands America has to offer.

One of those bands (Bully) has earned international acclaim. One of those bands (The Muffs) continues to be rightfully revered as not only icons but living legends. Through all of those shows, the weird parties surrounding them, and everything else that the minutiae of being in band carries, we’ve grown closer as a unit and I’m proud to consider both of the other members as family. Whether we were being towed to a house show after blowing a tire or playing hard enough to generate our own blood, we’ve found ways to continuously elevate each other, keep each other in check, and look out for each other. Show after show, song after song, the band kept getting better and we — impossibly — kept enjoying each other’s company more. It’s hard to imagine a better situation.

MY PARTNER

For all of the memorable things I was able to do in both film and music throughout 2016, by the year’s end none of it felt as meaningful as it would have if I didn’t get to share it with my partner, Simone. Throughout the last quarter of the year, we went from being good friends to being inseparable, willfully colliding at nearly every turn. I learned to rediscover the depths of my love for discovering new music by viewing it through her eyes. I rediscovered the importance of engaging in active good. I made up my mind to constantly strive to better myself in productive ways.

A series of shared trips to the various corners of the state of Wisconsin led to some genuinely unforgettable moments, whether it was carving out new, unbeaten paths in gorgeous parks on beautiful days or getting swept up in the (typically far too humid) intensity of shows in basements, dive bars, or anywhere else we might find people playing instruments (or picking up instruments of our own to play each other Bishop Allen songs). I’ll steal her glasses, she’ll steal my camera. We’ll laugh, we’ll listen, we’ll watch, and we’ll keep moving forward.

The survival of Heartbreaking Bravery can, in many ways, be directly attributed to her involvement in my life. All of the frustrating, terrifying events that have happened over the course of the year’s last stretch seemed easier to weather with her at my side and she’s constantly given me at least one major reason to celebrate the future. I’m thankful, grateful, and unbelievably lucky.

A STEP FORWARD

By the end of 2016, Heartbreaking Bravery had gained additional purpose. In the face of one of the most anti-arts (and anti-press) administrations in America’s history, the need to fight back by any means necessary increased. Even before the election, the fact that the current president’s campaign had carried him so far was troublesome. With a milestone rapidly approaching for the site, that happening at the forefront of the nation’s political landscape (and, more directly, America’s landscape), and an unending desire to be productive and actively contribute to good causes, I chose to resolve all of my feelings into one massive project: A Step Forward.

At first, I only expected a handful of people to be interested in contributing to the project. More than half of the artists I reached out to responded immediately and gifted the compilation, designed to serve as Heartbreaking Bravery’s 1000th post, incredible material. In a matter of weeks, I had more than 50 songs kicking around in my inbox. A few months later, my finger was lingering above the publish button, set to release 100 songs from 100 artists that had, in some way or another, been involved with this site’s history. By that point, I’d enlisted the help of Jes Skolnik to locate worthy causes and had struck up a correspondence with the Chicag0-based Rape Victim Advocates. All of the money made from the pay-your-own pricetag of A Step Forward would be going towards that organization.

Looking through all of the songs, whether they were demos, early mixes, new songs, remixes, or old favorites, and all of the artists who had chosen to give me a part of their lives because they believed in the things I was doing and the causes I was supporting was an overwhelming feeling. A lot of people that have had near-death experiences have described the sensation of seeing their life flash before their eyes and, in that moment with my finger hovering over the button to release this compilation, it was hard not to take stock of everything that had happened in my life over the course of this site’s existence. It was a jarring feeling but one that filled me with hope and with love for the people who have supported this place, stuck by my side, and lent their voice to any of the various projects to have run on Heartbreaking Bravery.

I was on the verge of tears when I woke up to the flood of responses the compilation had elicited and how much it had generated for people who put the funds to good use. I’d stayed up for nearly 50 straight hours getting the preparations for the project in place. Cody Dyb, one of my closest friends, was kind enough to let me use his internet to upload the materials (the internet at my house is obscenely slow) and I’d collapsed into a deep sleep shortly after returning home. Phil McAndrew, one of my favorite artists working today (and a regular contributor to this series), contributed an original piece to the project that has become one of my most-treasured renderings.

In the weeks leading up to A Step Forward‘s released, I’d done an ink sketch of what would become Heartbreaking Bravery’s logo. Petite League’s Lorenzo Cook — another Syracuse-based artist whose band contributed an incredible song to the compilation — meticulously tightened and superimposed the logo onto the image for the album art and the banner that can be seen at the top of this segment. I’m unbelievably grateful for both of their contributions and am lucky to count them both as friends. I also have to give special mention, once more, to Fred Thomas.

For more than a few years, I’ve considered Thomas to be one of the best lyricists in music (2017’s Changer finds him attaining stratospheric highs). When I reached out to him about the project and he suggested a song tackling the weird inter-scene dynamics that occur around someone being outed as a sexual predator, I wasn’t just flattered, I was flattened. That the ensuing work would be one of his strangest — partially inspired by S U R V I V E’s outstanding Stranger Things score work and a nice (if unintentional) nod to that particular act’s name — felt appropriate. “What Happens When the Costumes Come Off” is a song that perfectly embodied the tumultuous events that led to the formation of A Step Forward in my mind and has resonated with me ever since my first, oddly disorienting listen. There’s fear present in that song, there’s an incessant questioning, there’s a feeling of damage, but — most importantly — there is a feeling of resilience.

It’s that final feeling, resilience, that I’ve chosen to carry into 2017. With what America’s currently facing, resilience will be necessary. I’ve already been inspired by my friends’ resilience and generosity and I’ve vowed to carry on that spirit as best as possible. I’ve vowed to both make more room for and to elevate the voices of the groups who have been unfairly othered due to location, socioeconomic standing, or — infuriatingly — appearance, religious beliefs, sexual orientation, or gender identity. Historically, the people that have followed this site have shared a similar mindset and I’m constantly humbled by their company. We’re all in this fight together and it’s important to listen to the fears, concerns, and desires of the people that have been denied a platform for the worst reasons all too frequently.

The shows and festivals made 2016, in turns, fascinating, frustrating, and genuinely exciting. The people I was fortunate enough to be playing some of those shows provided 2016 a level of comfort. My partner not only served as a constant source of inspiration but continuously reminded me of the good in the world and all of the reasons that hope should never be abandoned. A Step Forward taught me that I’ll never be alone in my belief that empathy, camaraderie, and compassion will always find a way to thrive and that now, more than ever, it’s important to carry on the work, the ideology, and the spirit of Heartbreaking Bravery. I will do my best to personally embody whatever legacy it may have at every single turn and I will always be honored by the company it’s allowed me to share. 2017 may seem bleak from the outset but I have every reason to find heart in the fight to ensure it’s better than what we expect.

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Of course, this series wouldn’t be complete if I didn’t thank everyone who’s contributed through the years. As I said earlier, all of your contributions — and the fact that you care at all — mean more than I could ever convey with just words. So thank you, again, to both all of those names listed at the top of this post and all of the following names for their past contributions: Loren DiBlasiSabyn Mayfield, Tica Douglas, Fred ThomasIsabel ReidySami Martasian, Ben GriggBella Mazzetti, David Anthony, Jamie Coletta, Chris SutterCole Kinsler, Gabriela June Tully Claymore, Stephen TringaliToby Reif, Elaiza Santos, Amelia Pitcherella, Katie Bennett, Miranda Fisher, Christine Varriale, Sam Clark, Julia Leiby, Kelly Johnson, Jessi Frick, Nicholas Cummins, Athylia Paremski,  David GlickmanSasha Geffen, Jeanette Wall, Eva Grace Hendricks, Caroline Rayner, Joseph Barchi, Edgar GonzalezShari Heck, Michael Caridi, Dave Benton, Cynthia Ann Schemmer, Tess Duncan, Michelle Zauner, Jeff Bolt, Katie Capri, Quinn Moreland, Oliver Kalb, Ali Donohue, Ray McAndrew, Christopher Good, David Sackllah, Rick Maguire, Stephen Pierce, Johanna Warren, and Patrick Garcia.

As always, I love you all.

Watch This: Six Weeks of Honorable Mentions

Six weeks is a long time to go without running a Watch This and the 50 selections that ran in the 150th installment (the preceding post) barely scratched the surface. To get deeper into the extraordinary wealth of material worth exploring, a sequel of sorts seemed necessary. There’s absolutely no way that a single person is going to watch everything listed below but each link is genuinely exceptional and deserved to be featured. Whether they were part of a series, a great capture, a great performance, or notable for another reason, they’re all linked for a reason. So, bookmark the page and explore at will. Stop waiting and Watch This.

Middle Kids, Big Thief (x2), Nada Surf, Weaves, Dude York (x2), Kodakrome, Okkervil River (x2, 3), Ariana Brophy, Tokyo Police Club, Kishi Bashi, The Peekaboos, Gauntly, Title Tracks, SuperGlu, Journalism, School Damage, Julia Jacklin (x2), Dinosaur Jr. (x2), Hype, Loney Dear, Free Cake For Every Creature, Lever,  Midnight Faces, Jackie Islands, Mr. Ma’am, The Shelters, Tara Terra (x2), The Lemon Twigs, Boxed In, James Vincent McMorrow, Diet Cig, Alright Panther, Slothrust (x2), Weyes Blood, Slow Down Molasses.

SuunsJFDR, Kuroma, Young In The City, Justin Peter Kinkel-Schuster, Post Child, Suburban Living, MOM, Big Jesus, The Thermals, Minor Victories, Tectonics, Adia Victoria (x2), Disorder Kid, Shadowhouse, Tobacco, Holly Lovell, Out the Car Window, Vaginaboys, Parquet Courts (x2), Fossette, Mount Kimbie, Keaton Henson & Lisa Hannigan, Loch Lomond, BADBADNOTGOOD, PLANEADOR, Dinowalrus, Spruce Trap, Golden Suits, Giorgieness, Golden Suits, Joe Bordenaro, Ages And Ages, Lucy Dacus.

Lina TullgrenPatsy’s Rats, Belle Mare, Julien Baker, Pipeline, Gymshorts, David Bazan, The Woolen Men, Moderat, Allah-Las, Mean Jeans, Smoking Popes, Baba Dochia, Bobby Rush, Honey Bucket, Blanket Party, Nassau, Moondle, Conor Oberst (x2, 3), Dulce Y Agraz, Annabel, Talune, RY X, Ira Wolf, Day Wave, Oxymorons, Ess See, Bigjoy, Racing Heart, Richard Maule, Joe Bel, Dirty Laundry, Purling Hiss, Cory Kilgannon, Menacerno, The Roalde Dahls, Huey P, Haathi, Bad Cop/Bad Cop (x2), Cold Mountain ChildSóley.

MidijoyfulBlack EyesAttacca Quartet, Sims (x2), Gates, Evan Opitz, Sea Inside, Josh Pyke, Lyerr, Nature & Madness, Alma Forrer, Warpaint, Corbu, Dr. Martino, Male Gaze, Jack Garratt, Eros and the Eschaton, Marin Patenaude, Andreas Mattsson, Whitney, Hiss Golden Messenger (v), Matthew McNeal, Margo Price, The Minders, Zebra, Absolutely Not, Henry Bateman, Zen Mother, Royal Canoe, Love, The Twains, Shannen Moser, Billie Marten, Scott Matthews, Andy Place and The CoolheadsSignal To Noise.

Leisure Club, B00tyJoe Chunk, Pearl Earl, Drift Mouth, The Britanys, Miossec, Lisa Prank (x2), The Secret Sisters, Lost Walks, Smokey Brights, TTNG, Yori Swart, Hartford/FochtJesca Hoop, Moon Hooch, Aaron Lee Tasjan (x2), Ryley WalkerEstá Vivo, Alejandro Escovedo (x2), Lisa Hannigan, Lobo Marino, The Lavender Flu, MRCH, Divers, Pale Tongue, Floating Points, Deathsticks, Prettiest Eyes, Bat For Lashes, The Stops, Campo-Formio, Jessica Martins, Berriloom, Them Dead Poets, Looms.

Down GownAndrew Leahey & The Homestead, Vice Device, The Growlers, Digable Planets, Jack Grelle, Abhi Tambe, Spazzare, SUSTO, Lilah Larson, Shlomo Franklin, Ivy Meissner (ft. Uncivilized), Sex Crime, Chris JamesThe War On Peace (x2), Mohit Mukhi, Sanguine and Shiny, Dirty Fences, Band of Horses, Merynn Jean, Tom Stephens, Red Dons, The Domestics, The Saturday Giant, Public Eye, Pantomime, The Minus 5, Violetta Zironi, EYE, Laura Sjin, Black Bear Rodeo, Nacho Picasso, Old Fashioned Lover Boy.

Lithics, Hunt Hunt Hunt Camp, Robert Ellis, Wizard Rifle, Holy SonsAkın Sevgör, Ofelia Ofelia, Animal Spirit, Daniela Andrade, Rae Spoon, Dead Snow Monster, Magnetic Ghost, Zimmerman, Murder By Death, Steve Gunn, First Pet, The Malady of Sevendials, Liset Alea, VLNY, Oracle Room, Sky Village, Riley Pinkerton, Ricky Roosevelt, Sahil Bahl, Tall Juan, Alexandra Savior, Lisa Crawley, Youthpool, Gia Margaret, Battleme, Oathbreaker, SOBI, Eric Burton, Arkells, SALESSarah De Warren and Drive-By Truckers.

Watch This: Vol. 150

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As stated in the preceding post, a lot’s been happening in the world of Heartbreaking Bravery (both in its interior machinations and mitigating exterior factors). Its public upkeep has been largely neglected but behind the scenes, the work continues to be ceaseless. Watch This, the typically weekly series that celebrates the greatest live videos of the given week, has been on somewhat of a hiatus. To amend that, for this 15oth installment, this will extend far beyond the series’ usually confined scope.

In the previous 50 markers for Watch This, Heartbreaking Bravery’s original live videos have been featured. With matters of scheduling, it’s been impossible to keep that pace but bookmark the site’s YouTube channel for upcoming clips of acts like LVL UP, Alex G, Nobunny, The Hussy, and more (with a few long-archived clips finally making their way to air). So, instead of personally-generated footage, this will celebrate not five but 50 of the finest live clips to have appeared since the last Watch This ran at the end of October.

Single song performances, full sessions, individually-helmed efforts, and professionally-captured studio takes all appear. With this amount of material featured, it’d be a hyper-herculean task to take everything in all at once. The best route may simply be to bookmark the page, the clip, or fast-forward at will (though everything featured is more than worth the effort). So, as always, sit back, grab a drink, adjust the settings, focus, and Watch This.

The tracklist for Watch This: Vol. 150 can be found below the embed.

1. Car Seat Headrest – Drunk Driver/Killer Whales (Fallon)
2. Monica LaPlante – Hope You’re Alone (The Current)
3. Cymbals Eat Guitars (KEXP)
4. Casper Skulls – Love Brain (Exclaim!)
5. Um Are – Dark Entry (Boxfish Sessions)
6. LVL UP (KEXP)
7. Jack – Blue (I Like It Session)
8. Islands – Fear (Do512)
9. Jeff Rosenstock – Wave Goodnight To Me (Radio K)
10. Mercury Girls (WKNC)
11. The Peep Temple – Constable (3RRR)
12. Total Slacker – Don’t Ever Fade Away (BreakThruRadio)
13. And The Kids (WKNC)
14. Special Death – Perfume (DZ Records)
15. Spit – Days In Dreams (The Loft Sessions)
16. Drive-By Truckers (NPR)
17. Daisy Chains – Prove It (Radio K)
18. Lee Ranaldo – Electric Trim (La Blogotheque)
19. Bellows (Audiotree)
20. The Just Luckies – Conventions (DZ Records)
21. Lady Lamb – Spat Out Spit (Buzzsession)
22. Fraternal Twin – Big Dipper (Allston Pudding)
23. Pinegrove (NPR)
24. John K. Samson – Reconstruction Site (ANTI- Records)
25. Small Houses – Telling It Wrong (Sofar Sounds)
26. Wilco – If Ever I Was A Child (La Blogotheque)
27. Sad13 (PressureDrop.tv)
28. Sidney Gish – Hexagons and Other Fun Materials (Boxfish Sessions)
29. Julien Baker – Rejoice (KVRX)
30. Snail Mail (Michael Andrade)
31. Thao & The Get Down Stay Down – Nobody Dies (NPR)
32. Swimsuit Addition – Uptick (DZ Records)
33. Frankie Cosmos – What If (Allston Pudding)
34. Cayetana (Audiotree)
35. Courtney – Going Out Tonight (DZ Records)
36. Bethlehem Steel – Figure It Out (I Like It Session)
37. Atlas Crash – V.O.L.E. (Sofar Sounds)
38. Kishi Bashi (KEXP)
39. Ben & The Saints – Gold Rush (Sofar Sounds)
40. Wrekmeister Harmonies (Audiotree)
41. MASZER (KEXP)
42. Field Mouse (Audiotree)
43. Mall Walk (PressureDrop.tv)
44. Hovvdy – Problem (KVRX)
45. Purling Hiss (PressureDrop.tv)
46. Fufanu (KEXP)
47. Bear Vs. Shark (Audiotree)
48. Okkervil River (KEXP)
49. Nick Cave & The Bad Seeds – Magneto (Andrew Dominik)
50. Explosions in the Sky (NPR)

Nothing Stops In November: The Month’s Streams

While only two premiere spots ran on this site over the course of November, there was more than enough new material being released to keep anyone attempting to track it all extremely occupied. A total of nearly 200 outstanding songs found their way out into the world and, just as the preceding posts did for full streams and music videos, this post will serve as a recap of the majority of those titles. If there were enough time to provide all of these tracks feature spots, they’d be receiving a lot more words. However, that shouldn’t distract from their merit; all of these tracks are more than worth hearing. So, bookmark the page, click around, and discover a few new favorites. 

Hater, Alyeska, Dama Scout, Fred Thomas, Turtlenecked, Pissed Jeans, Rolling Blackouts Coastal Fever, Wild Pink, PermitTy Segall, The Courtneys, Julien Baker, brunch., Holy Now, Breast Massage, Hideout (x2), Jitterz, Drakulas, Ted Leo, Peter Silberman, Creepoid, ot to, not to, Luxury Death, Leapling, Day Wave, No Sun, Matthew Squires, Skyway Man, Dominic, Tobin Sprout, D.A. Stern, Minor Moon, Dear Georgiana, Slumbers, FRIGS, Nadia Reid, Mark Sultan, Polyester, Imaginary People, Shiny Wet Machine.

Magic Magic Roses, Spelling Reform, The Velveteins, Rubblebucket, Cate Le Bon, A Valley Son (x2), Old Gray, The Besnard Lakes, Swampmeat, Heat, Fascinations Grand Chorus, Alexander F, Mica Levi, Steady Hands, Bell the Band, Urochromes, Idle Bloom, Mainland, Thelma, The Regrettes, Modern Baseball, Holiday Ghosts, Los Campesinos!, Fear of Me, Lilah Larson, Frederick the Younger, Silver Rose, Lucidalabrador, The Molochs, Molly Burch, Tim Cohen, Rainbrother, AD.UL.T. (x2), Decorum, MELT, Emmy the Great.

GOLDBLOOMS, The Adventures of the Silver Spaceman (x2), We Leave at Midnight (x2), Dooms Virginia, Rosebug, Paperhead, OhBoy!, whenyoung, Caitlin Pasko, Lampshades, Pie Face Girls, Brandon Can’t Dance, Kevin Krauter, Childcare, Mind Rays, Eric Matthews, The Velvet Ants, The Black Clouds, Diagrams, Marine, Corner Suns, So Stressed, Crash Club, Future Peers, Proper Ornaments, Trudy and The Romance, Will Johnson, Fond Han, Natalie Bouloudis, Jordan Burchel, Big Mother Gig, Elliot, Once & Future Band.

Chaz Bundick Meets the Mattson 2, Pure Moods, Dude York, Sam Brockington, Del Caesar, John Travoltage, Camp Cope, Mutts, Pollen Rx, Cloakroom, Mr. Universe, Carroll, Purmamarca, Ben Pagano & The Space Machine, Tim Carr, Eat Fast, Landing, Louise Burns, Toothless, Plastic Pinks, Less Acrobats, Knifey, Known To Collapse, Cassels, Tracy Bonham, Brasstronaut, Satin Cowboys, Surf Rock Is Dead, Fruit Bats, Steph Barrak, Oliver Houston, The Sloppy Heads, Chavez, Aan, Sex Drive, The Saddest Landscape, Xiu XiuLiving Body, Lowly, JERK, Medium Mystic, Dutch Uncles, COTE, Koresma, Jailbox, Hajk, Archawah, Levek, and Grave School.

LVL UP – Hidden Driver (Stream)

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Another Tuesday, another slate of astounding new tracks fighting for a feature spot. Little Kid, Soccer Mommy, Hypoluxo, Dinowalrus, The Westerlies, Pavo Pavo, Chris Farren, The Cut Losses, YJY, Slow Mass, The Alpacas, Luxury Death, Bring Prudence, and Touché Amoré (which features a lovely, unexpected turn from guest vocalist Julien Baker) were all in on the action. As ridiculously strong as all of those were, the bulk of the attention will fall to site favorite LVL UP‘s explosive “Hidden Driver”.

Coming on the heels of “Pain“, “Hidden Driver” continues the bold expansions that the quartet’s promised for the forthcoming Return to Love. Right from the onset, “Hidden Driver” is able to assert itself as a beast of a different sort for the band, deftly combining the aesthetics that define their compellingly rough-hewn demo collections and their polished studio work. As the song begins to pick up its ferocity, a synth line becomes increasingly prominent, giving the whole affair an extra touch of vibrancy.

Guitarist/vocalist Dave Benton anchors this contribution, providing a healthy dose of his enviable songwriting gifts and applying a sense of tenacious urgency in the process. Leaning heavily on the spiritual realm for the narrative, Benton gets off one of the most memorable couplets of his career with “God is peaking, softly speaking.” It’s a moment of contemplative euphoria that bristles with life, even as it stares down the barrel of mortality.

All of “Hidden Driver” comes across as one of the most focused things the band’s ever assembled, simultaneously drawing from established patterns and a willingness to explore the unknown (a trait that manifests in both the musical composition and lyrical narrative). The band’s rhythm section has rarely sounded as aggressive as they do in the song’s vicious main section, which culminates with some of the most effective guitar work of LVL UP’s entire discography.

As “Hidden Driver” ultimately dissolves into ambient noise, the anticipation for Return to Love grows stratospheric. “Pain” and “Hidden Driver” on their own have constituted two of 2016’s strongest turn-ins while both hinting at the breadth of the quartet’s broadening scope. If the rest of the record can live up to the precedents set by the first two glimpses, Return to Love will confidently stand as one of the year’s best records. All that’s left to do is wait and put “Return to Love” on repeat.

Listen to “Hidden Driver” below and pre-order Return to Love from Sub Pop here.

Watch This: Vol. 136

The past week saw a lot of great live videos swimming to the shore from the depths of nowhere. There were outstanding featured performances in those clips from Adir L.C., The Curls, Lydia Loveless, Courtney Barnett, Ultimate Painting, Dogbreth, Los Blenders, Kinda Rad Kinda Sad, Summer Twins, Rich Girls, Slingshot Dakota, The Staves, Caveman, Eric Bachmann, Brendan Canning, Lisa Prank, Vetiver, Paridisia, Porches, Mimes of Wine, SALES, Typesetter, and Julien Baker. For the 136th installment of this series, the attention turns to a handful of folk-influenced artists who are either making their mark or reaping what they’ve sown throughout their careers. So, as always, sit back, adjust the settings, take a breath, and Watch This.

1. Margaret Glaspy (OpenAir)

Margaret Glaspy‘s had a deeply impressive 2016. The young songwriter released a breakthrough record, continuously boasts one of the better live shows on the market, and has handled the transition into the public eye with the poised confidence of a seasoned veteran. Here, Glaspy gives Colorado Public Radio’s OpenAir a powerful look at that live show, landing a few knockout punches throughout a rousing four-song performance.

2. Dusk – (Do the) Bored Recluse + Leaf (Set List)

No band has been written about or praised more by this site than Tenement, who have been the consummate example of what this site was built around supporting. Through that band’s decade-long existence, bandleader Amos Pitsch has been involved in a number of other projects but something about Dusk feels just a little bit different. The band’s comprised of several of the most impressive musical figures in Wisconsin’s relatively isolated Fox Valley area, whose singular visions act in complementary tandem. Beautiful harmonies, a sense of history, and a tenacious commitment help define the band’s identity. All of those traits are on full display for this gorgeous two-song turn-in for Wisconsin Public Radio’s excellent Set List series.

3. Green Dreams – Don’t Pray For Me (Katie Krulock)

Ever since the release of 2014’s excellent Rich Man, Poor Man, Green Dreams have been relatively quiet. All of that’s about to change as the band preps a new release, which the band provided a tantalizing glimpse at through the form of this live acoustic video. The typically ferocious project reveals their pensive side on the lilting “Don’t Pray For Me”, while still retaining the overwhelming narrative darkness that’s been so prominent in their past releases. Beautifully lensed and delicately performed, the video’s a powerful reminder of Green Dreams’ numerous gifts.

4. Bernie & the Wolf (DZ Records)

For more than three years, Bernie & the Wolf have quietly been perfecting a mix of influences and forming a sound that’s not too distant from the best of Saddle Creek’s offerings. Open, sprawling, and teeming with distinctly American influences (and history), their songs are immediately warmly familiar and entirely winsome. DZ Records recently capture the band delivering an impassioned set, keying in on “Ethyl”, “Catch Some”, and “Pretty On Me”, three genuine standouts from what promises to be one of the best releases of its given year.

5. Bon Iver (SPIN)

Typically, these spots are reserved for unheralded artists, independent-leaning moments, and videos where the performers aren’t hundreds of feet away. It takes a lot to overturn any of those qualifications and overturning all of them is essentially unprecedented. Even though Bon Iver’s Eaux Claires live unveiling of the forthcoming record — something I was fortunate enough to attend — was a genuinely Big Moment that will be exhaustively covered by nearly every serious music publication, the way it was introduced felt intrinsically connected to the foundations of this site.

As a person who’s lived the vast majority of life in a small Wisconsin town, watching someone like Justin Vernon selflessly elevate an enitre artistic community has been heartening. Watching him debut an entire album live, in front of a hushed audience of thousands, at a genre-balanced festival he founded in his own small Wisconsin hometown was actively inspiring. While Vernon’s rollout campaign for Bon Iver’s forthcoming 22, A Million was designed to benefit the projects’s chosen slot, it was also an effort to highlight the other artists (like Tenement and Tickle Torture) who were a part of the Eaux Claires festival.

In that methodology, Vernon’s added another heartfelt notch in his continuing efforts to expand Wisconsin’s woefully underrated music community by any means at his disposal. On top of all of that, though, the actual performance of 22, A Million was an unforgettable event that was enhanced by the location (Bon Iver’s music has always been perfectly suited to Wisconsin’s wilderness) and the weather.

Just before the set began, what had been a steady downpour of rain lasting hours had suddenly stopped and night had fully descended. Throughout the set, there was an eerie calm that was punctuated by the noise of crickets that had taken residence in and outside of the festival grounds, creating an ambient wellspring of noise that further enhanced the glitchy electronics that permeate throughout 22, A Million (they became especially evident during the quietest moments, rounding out those songs in an unforgettable fashion).

While all of the main set can be heard and seen below in a video that SPIN livestreamed from the crowd, the encore set (which isn’t part of the video) provided what may have been the most defining moment of the festival.

Playing a selection of songs that wildly varied from their original versions, the band pulled out a fairly faithful rendition of “Creature Fear” that culminated in an apocalyptic wall of noise outro section. In the lead-up to those breathtaking final moments, a blisteringly intense lightning storm had erupted behind a heavy cloud, providing an unexpected assist that felt entirely in tune with the weekend’s joyous collaborative efforts. In that moment, the audience, the band, the city of Eau Claire, and Wisconsin itself became part of a unified moment that transcended easy category, leaving an indelible mark on Eau Claires, on Eaux Claires, and on everyone who took a moment to take in their surroundings.

Watch This: Ending Another Short Stretch of Static

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We’ve officially arrived at the 950th post of Heartbreaking Bravery, which means it’s time to offer up another mixtape of some sort or another. Since the Watch This series has maintained radio silence over the past two and a half weeks it only felt appropriate to turn to the over-abundance of incredible material that’s surfaced in that time frame. The 25 clips included below range from old favorites to promising new faces, single songs to full sessions, and generally cover the range of what the series was created to support: the very best of the live video platform. It’s unlikely that anyone will watch through the entirety of this packet (as it runs for nearly four hours, if viewed uninterrupted) but it’s worth taking the time to both explore and return to all of the performances contained in Ending Another Short Stretch of Static. So, as always, kick back, focus up, adjust the settings, settle in, and Watch This.

1. Car Seat Headrest – Fill In the Blank (Pitchfork)
2. The Spook School – Gone Home (BreakThruRadio)
3. Meat Wave – Sham King (SideOneDummy)
4. Weaves (3voor12)
5. Ron Gallo (Audiotree)
6. Dusk – Shift Towards Tenderness (This Means War)
7. Izzy True – Which Wish (Bedhead Sessions)
8. Royal Headache – Carolina (Pitchfork)
9. Royal Brat – Avoider + Broken Step (Radio K)
10. Girl Band – Paul (Pitchfork)
11. The Coathangers – Burn Me (Radio K)
12. Japanese Breakfast – Everybody Wants To Love You
13. Free Cake For Every Creature (WKNC)
14. Fear of Men (Audiotree)
15. Majical Cloudz – Silver Car Crash (q on cbc)
16. Jade Imagine – Stay Awake (3RRRFM)
17. Tele Novella – Heavy Balloon (Do512 Austin)
18. Margaret Glaspy (KEXP)
19. Kevin Morby (NPR)
20. PWR BTTM – New Hampshire (WFUV)
21. Wand (KEXP)
22. Declan McKenna – Brazil (The Late Show With Stephen Colbert)
23. Lucy Dacus (NPR)
24. Ólafur Arnalds (ft. Brasstríó Mosfellsdals) – Dalur 
25. Julien Baker (Primavera)

Watch This: Vol. 131

Over the course of the past two full weeks, there has been a brief reprieve from the Watch This series, which normally runs in weekly installments. Part of the reasoning behind its recent absence has been explained in previous posts (it was mostly a matter of scheduling) but returns now in a two-part installment to cover those complete weeks. The week that’s currently in session will be accounted for on Sunday and unaffected by these installments. Laura Stevenson, NUEXTango Alpha Tango and the Malady of Sevendials, The Dirty Nil, Charles Bradley, Bruiser Queen, Spooky Ghosts, The Goon Sax, Weakened Friends, Bombay, Money, Beach Slang, Adia Victoria, Protomartyr, and Maritime were the featured artists that comprised roughly half of the honorable mentions in the covered time frame, fully illustrating the strength of the featured cuts. So, as always, sit up, adjust the settings, focus, and Watch This.

1. Summer Cannibals (PressureDrop.tv)

PressureDrop.tv has been responsible for a lot of the more memorable full sessions of recent memory but the series recently topped themselves with this no-holds-barred session from site favorites Summer Cannibals. None of the other performers on the series’ enviable roster of guests have matched the sheer velocity of Summer Cannibals’ energy here and the visuals match that propulsion. Nearly every second of the performance feels perfectly complementary and suggests that PressureDrop.tv just might be realizing their full potential.

2. free cake for every creature – All You Gotta Be When You’re 23 Is Yourself (BreakThruRadio)

free cake for every creature have appeared on this site numerous times but with each successive link, they’ve bettered themselves and hit yet another apex with this BreakThruRadio performance of “All You Gotta Be When You’re 23 Is Yourself”, a standout from their most recent release. Conjuring up a spell of subdued magic, the band effortlessly breezes through the track and closes it out with a soft smile.

3. Clearance – You’ve Been Pre-Approved (Constellation Chicago) 

One of last year’s more overlooked releases came in the form of Clearance‘s excellent Rapid Rewards [full disclosure: my photography is used for the back art] and the record’s allure has actually grown since its release. A large part of that is thanks to Mike Bellis’ knowledgeable songwriting, which is front and center in this recent solo take of one of that record’s many highlights, “You’ve Been Pre-Approved”.

4. Tancred (Little Elephant)

Something is happening in these Tancred videos for Little Elephant that both suggests they’re unfinished and creates a curious pull that’s not entirely dissimilar from quicksand. The performance from the band, as ever, is sharp as hell but the audio sounds canned, as if only an overhead mic was picking the band up. That effect winds up working in tandem with the band’s influences astonishingly well, creating a damaged VHS sound quality that transforms this session into a surprisingly gratifying Easter egg.

5. Julien Baker (Exclaim!)

If a pro-shot Julien Baker session emerges over the course of any given week, it’s probably safe to assume that it’ll find representation in this series. Baker’s an innately talented performer and a mesmerizing lyricist that’s already managed to carve out a space next to Elliott Smith as one of the most effective and intimate narrators of tragedy that the music world’s had in quite some time. All of those qualities infuse this recent two-song performance for Exclaim! with a hypnotic sadness that manages to be both reassuring and heartrending all at once.

Watch This: Vol. 126

It’s been quite some time since there was a regular installment of Watch This, a fact that was mostly due to travel in the pursuit of live coverage. That same pursuit pushed back this installment a few days as the post that precedes this one — and its accompanying preparation — took weekend priority. Now that it’s been posted, the wheel of Watch This can resume spinning freely (and will soon resume their position as a Sunday staple). As way of compensation for the delay, there’ll be two volumes of Watch This posted tonight. This post wJuill focus on standalone performances while the forthcoming post will tackle full sessions.

Additionally, a list of artists responsible for some great performance clips can be accessed by clicking the following hyperlinks: Cable Ties, didi, SOAK, Marissa Nadler, More Humans, Midwives, Sunflower Bean, Kurt Vile, Desert Mountain Tribe, Stephen Steinbrink, PUP, Tamaryn, Neely, Yael Naim, Laura Jean, Seramic, and Andrew Bird. It’s a long list of artists and performances that illustrates the sheer strength of the featured selections. So, as always, sit down, turn the volume back, lean in, and Watch This.

1. PUP – If This Tour Doesn’t Kill You, I Will (q on cbc)

After tearing apart the 7th St. Entry last Friday and earning the bulk of this site’s previous post, PUP have essentially guaranteed themselves a featured spot any time one of their live videos surfaces from a pro-shot source. Here, the quartet takes on the most intimidatingly-named song of the year with fervor, delivering a characteristically impassioned run that seems to lay everything on the line. It’s fiery, it’s ferocious, and it’s a very worthy addition to the Watch This catalog.

2. Speedy Ortiz – Dot X (Stereogum)

Speedy Ortiz recently unveiled a great new EP, the cheekily-named Foiled Again, which saw the band hitting the road and continuing to sharpen their already formidable live show. Stereogum recently caught them ripping their way through “Dot X”, a standout from Foil Deer. The band’s in rare form here, looking comfortable as they navigate the song’s hairpin dynamic turns with ease. It’s a compelling look at a great band that’s still in an impressive stride.

3. Lady Lamb – Spat Out Spit (Audiotree)

After a long stretch away, Lady Lamb returns to a standalone Watch This feature with a masterful run through “Spat Out Spit” that was lovingly captured by Audiotree. The song remains as unavoidable as it was on the day it was released and Lady Lamb’s Aly Spaltro’s only grown more confident as a performer in that time. Using “Spat Out Spit” as evidence, it’s not a surprise that Lady Lamb’s stages keep getting bigger.

4. Charles Bradley – Nobody But You (The Current)

Few people have had a run as inspiring as Charles Bradley over the past several years. The man’s gone from a literal nobody to a living legend at an age where most people would be contemplating retirement. Instead of giving up, Bradley’s had an extended coming out party that’s earned him legions of adoring fans, the respect of everyone, and a long string of impressive distinctions. Just as heartening as Bradley’s story is his music (as well as his prowess as a live performer). The Current captured him beautifully via this heartfelt run through “Nobody But You”.

5. Julien Baker – Photobooth (The AV Club)

Normally, this series doesn’t focus on covers. However, Julien Baker isn’t a normal artist and The AV Club’s Undercover series isn’t your run-of-the-mill covers generator. Both the series and the artist draw the best out of each other on this occasion, as Baker turns in a heartbreaking rendition of the admired Death Cab for Cutie slow-burner “Photobooth”. Baker applies her trademark devastation to the song and lets shattering emotion bleed through every single one of the songs crevices. Breathtaking, gentle, and undeniably beautiful, it’s both a declaration and reaffirmation of Baker’s talent as well as the worth of the Undercover series. Don’t miss out.

Splitting at the Break: The Live Photography of 2016’s First Half, Pt. V

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After installments I, II, III, and IV, this site is officially caught up to the current release cycle in every coverage category: single streams, full streams, music videos, live videos, live photography, and the (usually weekly) Watch This series. Going forward, the goal will continue to be at least one post a day (a rough average that’s been maintained for two and a half years, despite some lengthy hiatuses). Expect live reviews to return to the fold as early as next week and for everything else to resume or continue its regular functionality. Thanks to anyone who stuck with this site through the early lulls in this year’s first half and thanks to the artists and venues who graciously allowed — and even encouraged — photography. Heartbreaking Bravery wouldn’t exist without you and I will continue to look for ways to pay you back in kind. Find the last packet of photos from the year so far below and explore all of the others via the hyperlinks up top or by simply scrolling down. Enjoy!