Kanine Records | Heartbreaking Bravery

August 6, 2017

Seven Weeks, Fifteen Songs

This post will mark the last of the coverage overhaul necessitated by the seven week hiatus from regular coverage. Records have been covered, music videos have been covered, and a song and a pair of music videos have received standalone posts. Below are the 15 songs that stood out more than any others over that seven week time period and come from all sorts of sources and elicit all sorts of responses. Whether’s it’s the characteristically driving basement pop of Radioactivity or the hushed melancholy of Florist, there’s a lot on display. So quit waiting, jump in, and find a new favorite song. Enjoy.

1. Radioactivity – Sleep

Every project Jeff Burke‘s been involved in over the past decade has demonstrated the man’s a singular songwriter with an enviable gift. One of Burke’s more recent projects, Radioactivity (pictured above), has at least one Album of the Decade contender under their belt and continues to press forward with the kind of propulsive momentum that drives most of their songs. “Sleep” is a perfect example of that dynamic, a miraculous slice of basement pop that reasserts Burke as one of the genre’s all-time greats.

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2. Birdskulls – Over It

Few labels are amassing a discography as consistently impressive — or prolific — as Art Is Hard. Birdskulls‘ “Over It”, one of the labels latest offerings, goes a long way in solidifying Art Is Hard’s status at the forefront of the DIY-leaning punk world. A song that perfectly marries basement pop with basement punk, “Over It” comes overflowing with memorable hooks, biting attitude, and worn aesthetics typical of a band destined for a feverishly loyal following. Leave it on repeat.

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3. Honeyrude – Flowers

“Flowers” has been in Honeyrude‘s back pocket since 2015 but the band’s recent upheaval and re-release of the song as part of The Color Blue pays massive dividends in practice. Louder, cleaner, bolder, and more refined, “Flowers” is allowed to fully bloom, exceeding its early potential. It’s a gorgeous moment from a band that continues to impress, its shoegaze inflections perfectly suited to the band’s identity. Warm and towering, it’s likely to stand as the band’s career highlight for some time.

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4. Strange Relations – Say You

One of the small handful of bands on this list with a long-standing connection to this site, Strange Relations have been furthering themselves with each successive step they’ve taken. The band recently opened for Charly Bliss in Minneapolis and unveiled a lot of new material, including the brooding, kinetic “Say You”, one of the set’s many highlights. Since their past release, Strange Relations have grown more aggressive, more ambitious, and into a more fascinating band. “Say You” is definitive proof.

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5. Dead Stars – Pink Clouds

Several years into a remarkably consistent career, Dead Stars have established themselves as one of the most reliable bands currently mining a ’90s slacker punk influence to great effect. Even with a whole host of outstanding songs to claim as their own, “Pink Clouds” manages to stand out. Easily a career high point for the band, the hard-charging number surpasses the most tantalizing heights of their earlier work while staying true to the ethos and identity that made them so memorable in the first place.

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6. Walter Etc. – April 41st

Walter Etc. has spent the past few months putting out a small string of impressive songs with “April 41st” being the crown jewel of the lot. A laid-back mid-tempo basement pop number that embraces carefree relaxation, the song still manages to find an impressive momentum by playing directly to its lackadaisical tendencies. Near non sequitur’s and a comfortably dazed narrative elevate the song’s aesthetic to strange heights and the best thing anyone could do is let its calm, unhurried spell take over completely.

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7. Basement Revolver – Tree Trunks

2017’s already been overly generous in terms of memorable ballads, churning out some of the decade’s best over the first 2/3s of the year. Among those gems sits Basement Revolver‘s gorgeous “Tree Trunks”, a shoegaze-leaning piece of minimalist post-punk. Pop melodies and wiry instrumentation combine to hypnotic effect, while the production of the song’s second half propel it to stratospheric heights.

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8. Pinact – Separate Ways

After a three-year wait, Pinact are back and sounding stronger than ever on “Separate Ways”. Bridging the gap between basement pop and pop-punk in exhilarating fashion, the song clamps its teeth down on a surging sense of momentum and finds a way to guide itself to a triumphant finish. It’s easily among the band’s finest work and bodes extremely well for what their future might have in store. Youthful, vibrant, vicious, and more than a little fun, it’s an unlikely summer anthem.

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9. Paul Westerberg – Hawk Ripping At Your Throat

A mysterious song surfaced on Soundcloud a few weeks back from an artist’s page listed as “User 964848511”. Closer inspection revealed it to be Paul Westerberg, operating in the same lo-fi mode that defined the earliest work of his most famous band, The Replacements. Unlike that early work though, “Hawk Ripping at Your Throat” is characterized by a somber, almost foreboding atmosphere. Slow, creeping, and full of white-knuckle suspense, it’s a potent reminder of Westerberg’s legendary talent.

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10. Lomelda – Interstate Vision

Lomelda‘s next album will be the project’s first for the impressively consistent — and consistently excellent — Double Double Whammy label. One of the first looks at that record came via the gorgeous “Interstate Vision”, a gentle mid-tempo number with a muted sense of grandeur and a near-cinematic sweep. It’s a lovely song that plays up the projects strongest aesthetic choices as well as emphasizing an unassuming mastery of songwriting. By the track’s end, it’s easy to wish it hadn’t come to a close.

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11. SOAR – Fatigue

Last year, SOAR managed to make a strong impression with the material that they were releasing. It seems that their momentum has carried over into 2017 and allowed the band to grow even more emboldened as “Fatigue” — their latest — is as hard-charging and unapologetic as anyone could have hoped. “Fatigue” also plays up their pop sensibilities to great effect, while continuing to mire it in coats of both grit and attitude. It’s a charming track and deserves a whole slew of listens.

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12. En Route – I Am the Problem

One of 2017’s most outstanding small releases came recently via En Route’s then is a song EP, another strong record from a growing line of projects working in the space that allows for a happy marriage between bedroom pop and basement punk. “I Am the Problem” was the song chosen to tease the EP and it was an incredibly effective choice as the song carves out a memorable identity for En Route. All of the decisions here, while understated, serve to elevate a legitimately great song from a new band worth knowing.

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13. Baby! – If I’m Sorry

Baby! has been releasing a string of ridiculously enticing singles over the past few months and “If I’m Sorry” is the best of an extremely tantalizing lot. Equal parts sweet and biting, “If I’m Sorry” is another mid-tempo slice of quiet perfection from a band that seems to be gearing up for bigger things. Every song they’ve released has been utterly captivating and “If I’m Sorry” takes that facet of their music to new levels. Winsome, pensive, and oddly uplifting, it cements Baby! as one of 2017’s most pleasant surprises.

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14. Madeline Kenney – Always

For more than a few years, Madeline Kenney has been carving out a place into today’s pantheon of emerging acts who have a genuine shot at their work being not only remembered but coveted after they’ve relaxed into retirement. “Always” is not only another strong indicator of that end goal but the strongest work of Kenney’s career to date. Three and a half minutes of arresting dynamics, clever arrangements, perfect production, and outstanding songwriting. It’s a song that’ll always be worth keeping around.

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15. Florist – What I Wanted to Hold

Last year, Florist released one of the year’s finest EPs in The Birds Outside Sang and they’re already gearing up for the release of what looks to be one of this year’s finest full-lengths, If Blue Could Be Happiness. “What I Wanted to Hold” is the song kicking off the roll out campaign for the record and it’s a stunner. In keeping with the band’s best work, “If I Wanted to Hold” is a delicate, wintry number that’s enhanced by its own fragility. Sincere, vulnerable, and searching, it’s one of the year’s most breathtaking songs.

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October 29, 2016

Weaves – Shithole (Music Video)

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EDITOR’S NOTE: This series of posts reflects back on some of the best material to be released over the past few weeks. Each post with this heading is a part of this series. After this series has concluded regular coverage will resume.

Not many bands had as much of a coming out party this as Weaves, who released one of 2016’s most extraordinary efforts in their self-titled full-length debut. One of the brightest moments of that release came via “Shithole“, a song that was originally released back in 2014. Director/editor Trevor Blumas gives the spiky, colorful basement pop number a video that keeps bandleader Jasmyn Burke in a tight one-shot, letting her face do the heavy lifting. It’s wild, it’s frenetic, it’s chaotic, it’s everything that makes Weaves tick, and it’s impossible to stop watching. Jump in and give in to its spell.

Watch “Shithole” below and pick up a copy of Weaves here.

June 18, 2016

Weaves – Tick (Music Video)

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Weaves were a focal part of most of this site’s coverage this week, so running yet another feature on the band may seem predictable but it’s entirely earned. Their latest music video, for the excellent album opener “Tick”, is a perfect representation of the exhilaration that Weaves so effortlessly generates. “Tick” was one of a handful of intriguing music videos to surface over the past 24 hours, a list that also boasts new material from The So So Glos, Melkbelly, Thrushes, Billie Marten, and Parakeet. Natural Child, The Hecks, CC Mose, Johanna Samuels, Adam Olenius, and The Saxophones all offered up strong new songs while Dentist, Lake Ruth, Pink Mexico, Show Me The Body, and The Guests all unveiled explosive full streams. Additionally, there was a two-song preview of the Husband Stitch’s upcoming self-titled EP and an important compilation from SRB Productions entitled Forever Beautiful: A Collection of Love for Orlando with all proceeds going towards the victims of the tragic events that transpired at Pulse earlier this week.

Each of those endeavors are worth undertaking (and, again, that compilation is both deeply important and frustratingly necessary) but in terms of new releases, this week belonged to Weaves. The band’s been on an incendiary tear recently, highlighting their run with the reveal of their extraordinary full-length debut. Now, they’re taking on the music video game with a clear-eyed ferocity and a surplus of focused determination. Opening with a tongue-in-cheek commentary on middle-aged malaise, “Tick” quickly ricochets into the artful weirdness that permeates throughout nearly every facet of Weaves’ outsize aesthetic.

“Tick” immediately kicks into full gear following the humorously droll introduction, with the song quite literally following the protagonist’s every move. Eye-grabbing visualizations propel the clip to absurd heights as it careens along, providing both absurdist tendencies and subtle, pointed commentary in spades. The whole thing is a massively entertaining thrill ride that recklessly careens along from start to finish, allowing its own substantial momentum to be its definitive trait. Most importantly, every aspect of “Tick” scans as truthful, imbuing the clip with a refreshing dose of unapologetic reality; people are weird, inherently lonely, and entirely capable of creating an environment that suits their most immediate emotional needs.

In the end, “Tick” stands as a testament to perseverance. Heartfelt, painfully honest, and equipped with a formidable bite, “Tick” also stands as a prime example of what can be achieved within the confines of the music video format. A beautiful accompaniment to one of the year’s most astonishing debuts, “Tick” finds the band continuing on an astounding level of near-perfection. Give it a watch (or several) and do something that feels necessary.

Watch “Tick” below and pick up a copy of Weaves here.

June 14, 2016

Weaves – Weaves (Album Review)

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2016 has been unbelievably kind in its production of legitimately great albums, EP’s, amd demos. Roughly halfway into the year and there are already well over two dozen legitimate Album of the Year contenders alone. Unsurprisingly, even more great full streams keep surfacing. While not all of these are quite at that year-end level, there were several deserving titles that were unveiled over the past 24 hours from the likes of G.L.O.S.S., Small Culture, Exam Season, and No Friends’ fourth Flexi compilation, while another curiosity arrived in the form of Marge’s three-track teaser for Bruise Easy. One of the day strongest standouts came from site favorites Weaves.

As was recently mentioned in the last Watch This entry, Weaves have been on an absolute tear since releasing the pointed, lived-in basement pop stomper “Shithole“. The band seemed to his a stretch of galvanization and poured a wealth of creative energy into their material, enhancing an already outsize persona with vigor and aplomb. After a few promising early releases, the band seemed to latch onto an identity and draw strength from their own discoveries. Emboldened by their own artistic growth, Weaves illustrates just how much fire the band has in its ribs.

From the sudden squall that opens “Tick”, Weaves‘ volatile opening track, the band never really eases off the gas pedal. This is, unmistakably, one of 2016’s wildest, boldest, and most invigorating releases. Teeming with an outsize persona and a frightening excess of energy, the band imbues the 11 tracks up for offer on Weaves with an abundance of genuine feeling. No punches are pulled and each blow lands with the force of an anvil. Bolstered by frenetic guitar work, the compelling narratives and vocal fireworks of Jasmyn Burke, and an almost frighteningly intuitive togetherness, Weaves‘ first section threatens to derail the entire affair.

Fortunately, Weaves have been perfecting just about everything in their arsenal, from production tricks to pacing, and the results aren’t just showing, they’re flashing two more rows of sharpened teeth; this is a record that runs deep. When “Shithole” — one of last year’s finest songs — finally hits, the song nearly becomes a reprieve. Scaling back the tempo, Burke’s honesty gains even more impact as the band conjures up the kind of reassuring bed of noise that elevates every word. “Eagle” follows suit, allowing Weaves to coast on the momentum they generated with the opening run of tracks while still expanding the record’s intrigue.

Weaves start waving their freak flag higher and more proudly in the record’s back half, though the prominence of that act never quite hits the exhilarating peaks produced by the brilliant back-to-back pairing of “Two Oceans” and “Human”. Following a sequence that staggering would seem nearly impossible for just about any other band but it ultimately opens up what Weaves can do with the record’s closing third, an opportunity they seize with a gleeful relish. Two 2016 highlights — “Coo Coo” and “One More” — enliven the home stretch but don’t necessarily establish themselves as the section’s definitive numbers.

It’s in that final sequence where Weaves cement that their self-titled effort was concocted as a well-thought whole; Weaves is a classic example of a genuine album. In a few years, Weaves may also genuinely come to be considered a classic album. The final piece to the puzzle that should help ensure its legacy is the placement of the record’s most explosive moment (“One More”, a no-brainer selection for one of the 50 Best Songs of 2016’s First Quarter compilation) with its most beautiful piece.

“Stress”, Weaves‘ finale, is nothing short of breathtaking. Tranquil, oddly moving, and quietly propulsive, “Stress” fully demonstrates just how far Weaves have come since their modest beginnings. Gentle melodies, well-placed stabs of feedback, and the kind of contemplative calm that descends after a vicious storm are underscored for the duration of “Stress”, allowing the band to seamlessly merge the sensibilities that frequently accompany both finale and epilogue. It’s a haunting number that provides Weaves with an unforgettable finish, solidifying its status as one of the stronger records this decade.

It’s not just that no one does what Weaves are doing as well as they do, it’s that no one else is even making an attempt. Should Weaves inspire some attempts at this particular eclectic blend of songwriting styles, genres, and cornerstones, this record will retain — and most likely remain in — a position as the gold standard. Grab onto something close and hold on tightly because Weaves is an unpredictable, exhilarating, and ultimately deeply satisfying thrill ride that knows no borders or boundaries. Greet it with an anxious smile and give in to its myriad charms.

Listen to Weaves below and pick it up from Kanine here.

9 Comments

May 13, 2016

Beverly – The Blue Swell (Album Review)

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Editor’s Note: There’s been a month-long gap in coverage, thanks to near-incessant travel and other extenuating circumstances. The following run of posts that contain this note will be posts that should have appeared sometime within the past several weeks. Use these posts as an opportunity to catch up to the present release cycle or to simply discover some new music. Either way, enjoy.

When Beverly first started making some waves, a lot of the credit was unfairly being siphoned from Drew Citron and given to Frankie Rose but, following Rose’s departure from the band, it’s been abundantly clear that this has been Citron’s project all along. The project’s latest record, The Blue Swell, follows the breakout success of Careers with grace and panache. The surf inflections have been honed, the retro-leaning bubblegum pop influence has been sharpened, and The Blue Swell comes off as an irrepressible statement of artistry.

Perhaps unsurprisingly, as Beverly is now squarely Citron’s project, the vision of The Blue Swell congeals in a manner that’s far more unified than its still-impressive predecessor. Everything here is also sequenced beautifully, allowing the records strongest cuts to land with maximum impact. One of those highlights comes early by way of the Byrds-ian jangle of “Crooked Cop”, which the band rightfully ran as an early single.

Everything else on The Blue Swell benefits from placement while simultaneously building and/or sustaining the record’s momentum. There simply aren’t any weak tracks on the record, each one boasting the same kind of carefree summery qualities that turned Carefree into a sleeper hit. By the time the climactic finale of The Blue Swell rolls around, most listeners will likely have already lost themselves to the record’s susceptive spell. Dissect everything and The Blue Swell holds up as an exceptional piece of craft, simply let it wash over you and it quickly becomes one of the most charming records of the first half of 2016.

Listen to The Blue Swell below and order a copy from Kanine here.

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April 25, 2015

Dogbreth – Hoarder House (Stream)

Dogbreth’s been one of my favorite bands ever since I discovered their incredible 2013 full-length, Sentimental Health. New material since then has been scarce, with only one song from 2014 (the great “Close With You“) appearing in between that time and last month, which saw the release of “Hoarder House”. Somehow, in the frantic shuffling of catch-up material, that song got lost- a garish oversight that will be amended with this post. Before exploring that track further, just like the past handful of posts, we’ll take a look at 10 great songs to have earned releases in the past few weeks. Those songs included, but weren’t limited to, Temple’s teeth-gnashing “Like Nothing In This Life“, Sea Lion’s devastating “Room“, Total Babes’ basement pop gut-punch “Blurred Time“, Creepoid’s hypnotic slow-burner “Dried Out“, and Eternal Summers’ typically gorgeous “Gold and Stone“. Sweetening the deal were Little Wings’ compellingly rustic “Where“, Blis.’s impassioned “Floating Somewhere High and Above“, Mini Dresses’ lilting “Are You Real“, Liza Anne’s noir-leaning “Take It Back“, and Annabel’s soaring career highlight “Another Day, Another Vitamin“. All of those releases are worth adding to your collection but this post’s focal point belongs squarely to Dogbreth, who have yet to have any sort of coverage on this site.

It Came From Plan-It-X 2014 is the compilation that “Hoarder House” belongs to, a collection of 40 songs from as many artists who share a relation to the legendary DIY-friendly label. Dogbreth’s contribution provides the release one of its finest moments (site favorites Free Cake For Every Creature and Martha can also claim this distinction) while simultaneously proving that they’ve been refining their sound since their last major release. Echoing shades of the increasingly formidable Salinas roster (Radiator Hospital, in particular), “Hoarder House” is incendiary punk-tinged basement pop. Hooks pile on top of each other until the song threatens to topple itself over, cutting off at a precise moment that seems to be designed to even further its impact. Quick-witted lyrics collide with a surging musical landscape that never shies away from dynamic expansion. Economical and highly affecting, “Hoarder House” accomplishes in under two minutes what a lot of others can’t in three or more. There’s a real sense of place and genuine feeling behind “Hoarder House”, balancing out its accessibility with an impressive amount of verve, setting the anticipation levels for the band’s next release rocketing up to obscene heights. Until that day rolls around, whenever it is, the most anyone can do is just keep hitting repeat.

Listen to “Hoarder House” below and order It Came From Plan-It-X 2014 from Plan-It-X’s bandcamp page.

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December 27, 2014

14 of ’14: The Best Music Videos of 2014

In all best-of coverage, there’s no room for any objectivity positing (“Best” is usually just shorthand for “most admired”), which is why this site’s long-held first person restriction will be dropped to allow me to speak more personally in an effort to better explain the contents of this list’s (and all of the lists to follow) personal effect on myself. In 2014, I watched (and covered) more music videos than any year of my life- allowing an intake of genuinely great content that made compiling this list a dream and a nightmare. After spending weeks reviewing old clips (while keeping up with the videos enjoying December releases), I settled on the selections below as the 14 that hit me hardest over the past 12 months. This list will be the first entry in more than a week’s worth of year-end coverage that I’m beyond excited to share with everyone. So, with all of that said- it’s my privilege to present Heartbreaking Bravery’s 14 of ’14: The Best Music Videos of the Year.

14. Left & Right – Low Expectations

A few months ago, Left & Right released this absolute gem of a music video. Imbued with a DIY irreverence, a purposeful sense of direction, winningly off-beat humor, unabashedly committed performances, and some genuinely great cinematography, “Low Expectations” became an unexpected standout; a clip that came out of the gate swinging and (somehow) landing every single blow. Easily one of 2014’s most unexpectedly charming (and ridiculously enjoyable) clips.

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13. Saintseneca – Happy Alone

Saintseneca’s Dark Arc was one of 2014’s most deserved breakout moments and nothing punctuated that shift more than the Christopher Good-helmed clip for “Happy Alone”. Emphasizing the song’s central themes by providing a bubble that practically forces isolation onto bandleader Zac Little, it’s a visually striking clip that got harder to shake as the year progressed. By grounding its elements of surrealism with an abundance of naturalism, it provided an artful counterpoint to something like Perfume Genius’ “Queen” (which, incidentally, was shot by Good). Importantly, it also proved that Saintseneca were officially on their way to bigger and better things.

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12. Angel Olsen – Windows

I’m not sure there was a music video to come out of 2014 that was more startlingly gorgeous than this Rick Alverson-directed clip for Angel Olsen’s heart-stopping Burn Your Fire For No Witness highlight “Windows”. By incorporating Southern Gothic Americana style rural imagery into Olsen’s plaintive folk-leaning sensibilities, Alverson managed to create an evocative portrait of one of this generation’s finest songwriters. Leading up to an oddly moving (and admittedly eccentric) climax, the whole thing’s so artfully rendered it begins to feel as complete as some of the year’s best films. Delicate and aggressive in all the right places, “Windows” more than earned a spot on this list.

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11. Beverly – Honey Do

“Honey Do” was my introduction to Beverly, just as it was for many others, so when news broke that they’d shot a music video for the song, it felt worthy of anticipation. Most of the expectations I had were exceeded in the first few frames and as the video progressed, so did my appreciation. Eschewing any kind of image-building, this was the first in a string of Beverly clips that largely eschewed celebrity in favor of celebrating artistry. Shot in crisp black-and-whites, “Honey Do” is a tender portrait of Los Angeles and its inhabitants and a promising mission statement from one of 2014’s more engaging new acts.

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10. S – Losers

Initially just a clip that came and went with very little fanfare (from a great record with a similar reception), “Losers” immediately felt deeply personal and genuinely heartfelt. Ostensibly a reflection on perception, self-esteem, and harsh reality, the thematic elements in the lyrics get brought to vivid life in a lovingly shot clip that somehow brings them to devastating proportions. DIY in spirit with a focal point on self-expression and identity, it’s become legitimately unforgettable; a long, heavy sigh of acceptance with only the faintest glimmer of hope reverberating throughout the weary cynicism. While “Vampires” was a great deal of fun, it’s “Losers” that deserves the lion’s share of attention for being one of 2014’s strongest buried treasures.

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9. Iceage – Against the Moon

Honestly, “The Lord’s Favorite” and “Forever” both could have made this list but it felt more appropriate to limit bands to one entry apiece. With that being the case, it’s Plowing Into The Field Of Love highlight “Against the Moon” that gets the nod; all of the reasons for its inclusion were previously detailed pretty extensively here.

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8. Anna Calvi & David Byrne – Strange Weather

Soft saturation. An autumnal palette. Digital film. One of the most delicately directed cinematography performances in any visual medium this year. An implicitly tragic narrative arc that suggests internal (and possible external) suffering. All of these come together in the sublime clip for an equally sublime cover of Kareen Ann’s “Strange Weather”, courtesy of Anna Calvi & David Byrne. One view was all it took for this to become one of the most difficult to shake clips of the year. Masterfully composed and brilliantly executed, it’s nothing short of an emotionally intuitive masterpiece.

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7. Diarrhea Planet – Babyhead

I got to use “diaper skull flume explosion” while writing the tags for this one in the initial write-up; what more explanation do you need? “Babyhead” was pure madcap glee on a level not too dissimilar to Wrong Hole’s equally shameless, equally deranged lyric video for “Wrong Hole“. There are times when total insanity can be kind of beautiful. I’m not sure this is one of them but it’s still ridiculously fun.

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6. Kid Moxie & The Gaslamp Killer – Museum Motel

No music video kept ricocheting around the corners of my brain more than this deeply unnerving clip from Kid Moxie & The Gaslamp Killer. Operating on a visual level that rivals what was achieved in Under The Skin, it uses waters, shadows, and contrast in a darkly seductive fashion that burrows its way into any brain fortunate enough to find its way over. An ingeniously subtle use of superimposed imagery on a lone snare drum drives up the feeling of unrelenting loneliness and palpable loss. It’s a deeply alluring and deceptively minimal visual representation of a stunning song. One that’s worth putting more than halfway up a “Best of 2014” list.

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5. La Dispute – Woman (Reading)

Since this was the last one of the last non-list features to be posted here, it’d seem redundant to simply retrace everything that’s already been said.

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4. Girlpool – Plants and Worms

Catleya Sherbow created this unbelievably stunning clip for Girlpool, 2014’s best duo, and touched on a number of pressure points- namely, acceptance and doubt. In the end, it’s about acceptance, and while that message does come laced with a visual that could potentially double as suicide, it still somehow manages to come off as comforting. “Plants and Worms” hits with the force of a world-stopping realization and echoes long after it ends, providing a staggering moment of beauty for Girlpool and a warm reassurance for just about everyone else.

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3. clipping. – Work Work

Yes, the video for “Never Gonna Catch Me”- the Flying Lotus and Kendrick Lamar collaboration- was incredible. Not a lot of people are going to dismiss that claim. However, it’s another destined-to-be-iconic clip from that genre field that made a deep(er) impression on me; the video for the clipping. and Cocc Pistol Cree collaboration “Work Work”. Tracing a narrative arc that uses a laser-sharp focus on the act of curb-stomping, enhanced by some thought-provoking visual surrealism, it immediately became one of 2014’s most arresting clips and its status hasn’t let up. If there was a tracking shot more provocative than the one at the start of “Work Work”, then I’d love to see it. Until then, I’m just going to keep returning to this one.

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2. Cymbals Eat Guitars – Warning

No clip from 2014 came imbued with more unwavering passion than the Crosshair-starring clip for “Warning”. All anyone needs to see is the thumbnail shot for this video to see a glimpse of how unfailingly heartfelt “Warning” winds up being. Matthew Reed tapped into a transcendental kind of magic that collapses a variety of bridges (age, taste) with a near-shocking ease. Ever since this was first released, I’ve been revisiting it with a great frequency because, like most great art, it pulls the viewer back in and rewards investment. Breathtakingly lensed, brilliantly edited, and furiously paced, this was a perfect accompaniment to one of the year’s most emotionally-charged records. Cymbals Eat Guitars may have intended the song to be a warning about love and loss but, backed by the video, it becomes one of the year’s most life-affirming moments.

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1. PUP – Guilt Trip

Back in 2013, I had the honor of naming PUP’s “Reservoir” the best music video of 2013 for PopMatters. While that video was a cathartic release that was a near-perfect representation of the maelstrom of a particularly rowdy live show, their video for “Guilt Trip” (once again speared by the creative team of Chandler Levack and Jeremy Schaulin-Rioux) was a much more serious affair. Weirdly attuned to my own childhood experiences probably lent it a few small favors in terms of my esteem but, doing my best to separate myself from that strange fact, it boasts a series of career-bests from Levack and Schaulin Rioux: cinematography, editing, the performances they elicited from an impressively talented young cast, narrative, and overall direction among the list. “Guilt Trip” also includes one of the most genuinely heart-stopping moments I’ve seen in any clip, infusing it with a sense of brutal reality (if only for a moment), emphasized by a single shot that drives the point home. My initial claim that it could have a shot at carving out a spot for “Video of the Decade” still doesn’t seem so far off- but it’s worth keeping an eye on Levack and Schaulin-Rioux to see if they can keep repeating a ridiculously impressive pattern.

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September 30, 2014

Iceage – Against the Moon (Stream)

There are days where it can be difficult to scrounge up enough great new releases to warrant an introductory paragraph round-up and there are days that are so generously overflowing with great material it’s nearly impossible to figure out what to feature. Today fell squarely to the latter. There were no less than four outstanding releases in each of the major categories: single stream, music video, and full stream. Cool Ghouls’ psych-laced basement pop rager “And It Grows” gave some new promise to the upcoming record. Mean Creek‘s Chris Keene unveiled the most recent look at his Dream Generation project with the sparse “The Four of Us” and September Girls teased their upcoming EP with the snarling “Veneer“. Veronica Falls‘ James Hoare and Mazes‘ Jack Cooper started a new project called Ultimate Painting, who instantly turned some heads with the carefree open-road ramblings of “Ten Street“.

Over in the realms of the music video, Grubs, Frankie Teardrop (warning: heavy strobes), and Cloud Nothings all released clips defined by lo-fi experementalism while Snævar Njáll Albertsson’s Dad Rocks! project dipped its toes into a gorgeously-lensed narrative involving a heavy existentialist crisis with “In the Seine”. In the space occupied by full streams, Dark Blue offered up their heavy-hitting Album of the Year contender Pure Reality and Tomorrows Tulips did the same for their career-best effort, When. Ex-Breathers made all 12 tracks (and 11 minutes) of their vicious upcoming 7″, ExBx, available for the world to hear, while Zola Jesus occupied similarly dark but incrementally softer territory with her upcoming effort, Taiga. A Winged Victory For The Sullen rounded out the full streams with another ambient near-masterpiece titled Atomos. Of course, there was one another full stream- but the link is being withheld until it’s accompanied by a forthcoming review. In the meantime, today’s focus will be on the song that defines that record: “Against the Moon”.

In an effort not to mince words, one thing should be noted before going any further- namely that Plowing Into The Field of Love is a masterpiece. No record this year has seen a more stunning creative growth or felt more important than Iceage’s new behemoth. Only three records into their still-young career and they’ve already emerged with a full-length that not only operates as a radical left turn but one that rivals anything from the creative rebirth of Nick Cave & the Bad Seeds (or, the Let Love In era). Iceage’s first two records, New Brigade and You’re Nothing, were menacing works that a few people chalked up to exhilarating exercises in intimidation. On Plowing Into The Field Of Love the band relents from that approach and serves a hyper-literate Southern Gothic-indebted masterwork that sees them flexing boldly experimental muscle and an untapped well of what now appears to be endless ambition. No song on Plowing Into The Field of Love illustrates this more than the slow-burning “Against the Moon”, a song that’s well out of the confines of anything the band’s ever done but still feels wholly suited to their identity.

Opening with the quasi-mournful strains of a brass section, it quickly undercuts its brief introduction with shuffling drums and the sustained hums of a chord organ. In those opening 15 seconds, the band manages to establish an astounding grasp on a style that was previously completely foreign to them. By the time the string and piano arrangements kick “Against the Moon” up a few levels into the breathtakingly sublime, it’s one of the bravest things any band this year’s committed to a studio recording. As instrumentally thrilling as “Against the Moon” is, it’s the startling emergence of vocalist Elias Bender Rønnenfelt’s vulnerability that shifts the song from the sublime to the transcendental. For the first time, Rønnenfelt’s lyrics and vocals are given a platform that demands the listener’s unwavering attention and that level of investment is paid off in full. From the song’s arresting opening stanza, enhanced by Rønnenfelt’s world-weary drawl, it’s clear that his personal transition directly correlates with what the band’s accomplished in terms of musicality. “On a pedestal, shining bright. Justify me. Make me right. I can fight it; make it roam- but a fugitive has a tendency to return home.” is the kind of opening line that suggests a genuinely great writer- that the rest of Iceage seems to have embraced and experienced the same level of maturity and rapid artistic growth as Rønnenfelt in the short year that’s followed You’re Nothing is nothing short of mind-bending.

A song that literally arrives with horns, “Against the Moon” stands as Iceage’s definitive entry into the band’s sudden new era, the strongest representation of Plowing Into The Field Of Love‘s myriad of sudden changes, and one of the most immediately striking songs to emerge from the past 4 years. Stripped back far enough to be completely exposed, Iceage shows the world all of its scars, all of its imperfections, and all of its entire being- and it’s a tremendous thing to experience. Even considering all of their previous sonic aggression, nothing they’ve ever produced has hit with a fiercer impact. For a band that’s aim has always been to wound, it’s a devastating reverse that leaves them sounding wounded- but bravely resilient. It’s extraordinarily effective and unflinchingly courageous. Most importantly, “Against the Moon” is the crown jewel of what deserves be regarded as one of this decade’s most important records. Make sure to give this the attention it deserves.

Listen to “Against the Moon” below, pre-order Plowing Into The Field Of Love from Matador here, and keep an eye on this site for a full review at some point in the coming week.

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August 24, 2014

Eternal Summers – Window (Stream)

Eternal Summers’ The Drop Beneath was a gorgeous stunner of a record, reinforcing Kanine Records’ already stellar reputation as one of the most consistent labels releasing music today. Intriguingly, one of the finest songs attached to the record- “Window”- was only released as the B-Side on a digital single. “Gouge” is an impressive track, to be sure, but there’s an undefinable quality that helps “Window” both separate and transcend both “Gouge” and a very large portion of the record it was featured on. Tilting more towards traditional shoegaze, “Window” allows the band to explore their oneiric side, finding a comfortable niche in the atmospheric.

There’s a distinct uncertainty that creeps into “Window” and it becomes a perfect vehicle to showcase Nicole Yun’s transfixing vocals. It’s deliberately paced, with the swirling guitars slowly expanding into ambient-heavy sections that frequently verge on either post-rock or post-punk, creating a bridge to close the gap over a very peculiar divide. Doug Gillard’s production work here is as marvelous as ever (easily matching his work with both Nada Surf and Guided By Voices), creating a lush soundscape that complements the band’s styles both individually and as a collective unit. By the time it fades out, “Window” already feels like a particularly memorable dream worthy of being fondly recalled down the line. In short: it’s something that approaches mastery.

Listen to “Window” below and buy the Gouge single here.

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August 15, 2014

Big Ups – Justice (Music Video)

There were a lot of treasures revealed in the weird little corners of the music world this site loves to mine today, including a full album stream (courtesy of Kanine Records) of Beach Day’s Native Echoes, an unofficial video of Ty Segall’s “Susie Thumb“, and an official music video from doom overlords Windhand. Additionally, there were streams for excellent new songs from GAMES, Abattoir Blues, and, especially, Nude Beach. Mostly, though, today belonged to a band who are no strangers to this site: Big Ups.

Eighteen Hours of Static, Big Ups’ most recent record, set the tone for what’s proven to be a tumultuous 2014 back in the middle of January. Since then, they’ve toured fiercely, experienced a growing profile, and quite an impact on this site’s Watch This series. The band also seems to have an eerie predilection for anticipating things on a large scale, something that could serve them very well in the future- and something that made the video they unveiled today for “Justice” so jaw-dropping.

Given the extremely unfortunate events happening in Ferguson, MO regarding journalists and journalistic rights, a video showcasing the plight and persecution of such a figure is not only timely but incredibly arresting. That “Justice” furthers its plot into a torturous state of affairs involving a grotesque allegorical sequence involving a bloodthirsty parasite that only adds to the overall discomfort. As aesthetically jarring that sequence is, it’s worth noting that “Justice” is a visual feast that’s soundtracked by Big Ups’ very peculiar brand of post-hardcore. The whole affair is intense and extremely disquieting, which will likely continue Big Ups’ deserved ascension in name recognition. This is a timely piece of multimedia art that’s worth watching and reflecting on. Don’t miss it.

Watch “Justice” below, read up on the situation in Ferguson, and buy Eighteen Hours of Static from the band’s webstore.

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Tag: Kanine Records