Heartbreaking Bravery

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Tag: Kitsch

Yes Yes A Thousand Times Yes/Fits (Split EP Review)

fits
Photograph by Stephanie Griffin // INDAFF

In the past week and a half a lot of full streams worth hearing have emerged, including titles from Feral Jenny, Ranch Ghosts, Lisa Prank, Sur Back, Stephen Steinbrink, Therm, CLAWS, Johanna Samuels, LUKA, Durand Jones and the Indications, Retail Space, and The Mystery Lights. Along with those there was also a Sundress Records compilation (Sunken Meadows – Vol. 1), a Vacant Stare compilation (Live From The Grassy Knoll Vol. 1), and a compilation from a long string of Kentucky-based musicians aptly titled We Have A Bevin Problem. Most importantly, that stretch of time also saw the release of Yes Yes A Thousand Times Yes/Fits, a split EP boasting two of today’s most promising emerging acts.

Yes Yes A Thousand Times Yes kick the proceedings off with the forceful basement pop of “Dad Got Me A Lefty Desk” that finds its strength in seamlessly alternating between razorwire breakdowns and propulsive, bass-driven main section. The vocals are impassioned and the band seems committed to sounding as menacing as their genre restrictions allow. The song’s over in two minutes and sets up “Mas and/or Menos” nicely, which opens with a tantalizingly off-kilter introduction before branching into the realms of disjointed post-punk. The band uses the spareness of the verses to their advantage here, injecting the chorus sections with an adrenaline that makes the track feel genuinely explosive; it’s a brilliant dynamic play that’s made all the better by “Mas and/or Menas” being, quite simply, a great song.

Fits waste no time on their side, kicking the transition off with “Fits”, which had a nice premiere piece over at Stereogum that dissected the band’s shockingly strong lineage (Fern Mayo, PWR BTTM, gobbinjr, Big Ups, and Museum of Recycling are all directly connected). Unsurprisingly, given the band’s pedigree, each of the songs on their side of the split are absolute triumphs. Sharp and sharp-witted, Cummins (who penned an extraordinary piece for the most recent crop of A Year’s Worth of Memories) leads their band through a trio of galvanized basement pop, never getting too cloy or too dour but always finding a way to effectively bridge the two.

All three of the band’s tracks on the split clock in at under 100 seconds yet land with such a fierce impact that they immediately register as complete entities worth even more than however many revisits they’ll undoubtedly earn. By the time “Why Did U @ Me” hurtles itself over a cliff and into some unknown abyss, Fits more than cement this split’s status as one of the very best of not just 2016 but of this decade. Everything on display here is a feat of strength and vision, ensuring both Yes Yes A Thousand Times Yes and Fits a discography entry that’s alternately inspired and inspiring. Hop on now and hold on tightly for what promises to be an exhilarating ride.

Listen to the split below and pick it up here.

All Dogs – Georgia (Stream)

All Dogs V

After a long list of posts dedicated to the best material to have surfaced over the course of the past two weeks, everything’s back on track. The contents of this post will focus solely on some of the best content to have emerged yesterday- and the results are fairly minimal (though the included pieces are wonderful). Victoria+Jean debuted their nightmarish fever dream of a music video for their jaunty (and undeniably weird) “Holly“, which offered more than enough visual stimuli to make up the entire music video list for the day. As for single streams, there was Pink Mountaintops’ slow-burning basement pop number “Asleep With An Angel” and Sur Back’s hypnotically delicate (and unfailingly gorgeous) “Occam’s Razor“. Then, of course, there was the new track from site favorites All Dogs.

In 2013, this site had their debut 7″ ranked very highly on a best-of list. In 2014, it captured All Dogs up close and personal while they made their way through one of the best shows Wisconsin hosted this year. There’s no reason to think that their forthcoming LP (due out on Salinas in 2015) won’t become another instant favorite. Apart from the new songs captured in live settings, there haven’t been too many instances of new All Dogs music appearing (even the live clips are severely limited) so anytime something like “Georgia” happens, it’s worth putting everything else on hold to let it play uninterrupted. Intended as part of The Le Sigh Vol. II compilation tape, it finds the band adding even more nuance into their sound. From the light slide guitars to the muted transitional bridge, it’s abundantly clear there’s a startling new depth to the band’s grasp on dynamics (likely a result of them creating as a full band rather than on their own individually).

Bandleader Maryn Jones’ melodic sensibilities are still the focal part of the band’s appeal and the rest of the bands plays off of those sensibilities beautifully. Everything’s complemented in increasingly subtle ways, from Amanda Bartley’s half-hidden atmospheric bass lines to Jesse Withers’ intuitive, feel-heavy drumming. Jones’ lyrics remain as sharp as ever, continuing a constant grapple with self-doubt, self-discovery, and combining them with a constant search for greater meaning. It’s a perfect reminder of why the love for All Dogs is so fervent and it’s an impossibly tantalizing look towards what the band has in store for the future.

Listen to “Georgia” below and give The Le Sigh as much undivided attention as possible.