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December 3, 2015

Idle Bloom – Pride Line (Stream, Live Video)

Idle Bloom I

It’s been a while since there’s been a standalone post on this site so it seemed appropriate to have that spell broken by a recent favorite: Idle Bloom. Before diving too far into that, though, it’s worth noting that since it’s been such a long time since the last standard post, each of the forthcoming posts will be equipped with a list of the outstanding tracks, videos, or full streams that have come out in that time. While the attention will be returned to Idle Bloom and their latest, some attention should also be given to some excellent new songs from Eluvium, Tracks, Laika’s Orbit, Big Hush, The Foetals, Ripper, Flowers, Kevin Devine, Sioux Falls, Patsy’s Rats, Big Ups, Goldmund, and Midwives. All of those songs are worth several listens but it’s time to get back to this post’s focal point: Idle Bloom and their towering “Pride Line”.

Driven by a gripping lead guitar line that froze me when the band pulled this song out for their knockout set at Alpahville, “Pride Line” is one of the band’s most definitive entries to date. While psychedelic flourishes permeate throughout the track, it’s even more heavily informed by shoegaze without ever coming across as revivalist. As the main riff slashes its way through the song, frequently augmented by wordless falsettos, everything supporting it steadily builds towards a climactic outro figure that does away with any perceived lightness and comes crashing down with bruising force. A dynamic powerhouse from a band that feels like they’re just getting started, “Pride Line” is an electrifying masterclass in atmospherics without ever relinquishing its sense of purpose. Get on board or get the hell out of the way because this will take you to the ground.

Listen to “Pride Line” and watch a video of the band performing the song live below. Pre-order Some Paranoia here before its Friday release.

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November 30, 2015

Watch This: Vol. 107

[EDITOR’S NOTE: Due to the nature of these upcoming posts, a truncated version of this introductory paragraph will be appearing over the next several installments of this series.] It’s been quite some time since the 100th edition of Watch This went up on this site. There have been a lot of factors going into the extended interim but, as usual, a focal point of that absence was to make sure the preparation work was kept up to date. Full sessions, single song performances, DIY videos, and impressive turn-ins from radio stations abound. So, as always, sit back, adjust the setting, crank the volume, focus up, and Watch This.

1. Ought (KEXP)

Easily one of the more electrifying acts on the touring circuit, Ought recently swung by KEXP’s studios to flex some serious muscle. Culling a session from their outstanding sophomore effort Sun Coming Down, the quartet rips through four songs with a vicious intensity that’s rooted in a straight-laced affectation. Even with that aspect of their identity pushed to its near maximum, the band still finds ways to drag out some deep-seated weirdness and, as a result, the session comes absolutely alive.

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2. Tijuana Panthers (Jam in the Van)

Anytime Jam in the Van brings in a scrappy punk-tinged basement pop band, the results are electric and this session with Tijuana Panthers is no different. Tearing through the requisite trio of songs, the band differentiates themselves from a growing pack through sheer commitment. It’s easy to tell that this band doesn’t just love playing these songs but they genuinely believe in them as well.

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3. Fraser A. Gorman – Dark Eyes (WFUV)

As an act finds their way to greater and greater success, one of the most important things they can do is deflect some of that attention to artists they feel are deserving of spotlights that have eluded them for one reason or another. It’s in that respect that Courtney Barnett continues to strike me as a patron saint of the unheralded as she continues doing incredible work with her Milk imprint. One artist Barnett managed to elevate considerably was Fraser A. Gorman, who was responsible for some of 2015’s finest material with Slow Gum. An unassuming presence that’s extraordinarily well-versed in American roots music, Gorman recently appeared at CMJ where WFUV captured him leading his band through a spirited version of “Dark Eyes” that suggests he’s more than ready for a greater share of attention.

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4. Salad Boys (KEXP)

Metalmania was one of 2015’s most pleasant surprises and helped heighten Salad Boys‘ recognition. All five songs the band brings out for KEXP exist in a mold that was clearly shaped– or at least heavily informed– by a love of Flying Nun Records. Everything here works to a casual perfection, whether the band’s embracing the janglier pop or dipping their way into some fuzzed out excursion, it’s executed with flair. Throw in an illuminating interview and this becomes an essential document of a band on the cusp of breaking out.

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5. Car Seat Headrest (3voor12)

Car Seat Headreast won over a lot of people this past CMJ and wound up being one of the marathon’s early highlights. After starting out as a bandcamp bedroom pop project, it’s graduated into a full-fledged band a la Cloud Nothings, and subsequently received a serious boost from a high-profile deal with Matador. The band’s picked up an additional guitarist since their CMJ run and it’s expanded their sound in intriguing ways. 3voor12 brought the band in for a session that sees them continuing to capitalize on their groundswell of momentum with memorably sharp performances, including a knockout take of 2015 highlight “Something Soon”. If the band can continue to match the pace on display here, we’re in for some genuinely extraordinary material down the road.

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November 29, 2015

Watch This: Vol. 106

1. Built to Spill – Good Enough (Joyful Noise)

Earlier this year, Built to Spill released their best record in over a decade. To help them celebrate that impressive achievement, Joyful Noise invited the band in for one of their Almost Live From… sessions and the band turned in a strong rendition of beloved rarity “Good Enough”. Weary, quiet, and and just about perfect, this is a powerful look at the current era of one of the most quietly celebrated acts in music.

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2. Radioactivity – Sickness/Don’t Try (Razorcake)

One of the fiercest basement pop acts of this generation, Radioactivity have built up an impressive reputation over the course of their brief history, rivaling that of their sister band, The Marked Men. While their sophomore effort, this year’s Silent Kill, was no slouch, the band’s self-titled debut remains one of the best records to emerge in this decade. Razorcake caught the band tearing through the two opening tracks of that debut at VLHS last month and (thankfully) posted the results so that everyone could revel in the frenzy.

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3. Ought – Beautiful Blue Sky (Radio K)

Back at the start of October, Ought put on a memorable set at Secret Project Robot that emphasized their off-kilter brand of nervous energy. “Beautiful Blue Sky” is the band’s most complete distillation of those tendencies to date and serves as one of many high watermarks for the quartet. Radio K recently hosted them for a session that saw the band turn in yet another inspired rendition of the song, which still feels as engrossing as it did when it was being road-tested as early as last year.

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4. Fern Mayo – Open Work (This Has Got To Stop)

I first came to know Katie Capri as a writer and admired her work in that field before being introduced to her musical project, Fern Mayo. Capri would eventually pen a memorable screed against the assumption that Brooklyn DIY was dead in a piece for the first installment of A Year’s Worth of Memories and I’d eventually be blown away by a few of her songs. One of those songs, “Open Work”, felt like the tipping point of a good band becoming something more meaningful. This Has Got To Stop shot an outstanding acoustic rendition of the song on a rooftop that highlights Capri’s natural magnetism as both a songwriter and a performer.

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5. Johanna Warren – Pin Oaks (Splendor Sessions)

A few of my fondest memories of 2015 involve time spent with Johanna Warren, whose gentle nūmūn ranks among this year’s finest offerings. Warren carries a tranquility with her that frequently tips over into a light serenity and that aspect of her personality informs her music, even in its stormiest moments. It’s that oddly specific sensibility that makes Warren’s solo acoustic performances feel like the purest presentation of not just her music but her entire being. Here, Warren turns in a characteristically captivating performance of “Pin Oaks” in a van that makes room for some gorgeous shots of the songwriter idling by a body of water. It’s an appropriately beautiful document of a moment that feels as if it’s only a few steps removed from being holy.

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November 29, 2015

Watch This: Vol. 105

1. Young Jesus – Every Little Landscape (The Trundle Sessions)

After a brief restructuring period, Young Jesus came out swinging in 2015 with one of the year’s finest records and an even more ferocious live show than they’d had with their previous iteration. As if that wasn’t enough, they’ve been teasing new material in their live sessions. “Every Little Landscape” is another look at the band’s promising future that showcases guitarist/vocalist’s enviable knack for songwriting. It’s a quiet, impressive moment that suggests the band’s far from done.

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2. Woozy – Gilding the Lily (Little Elephant)

Every once in a while, Little Elephant brings a band into their studio that challenges their preferred style of music while still adapting some characteristics of those genres. Utilizing elements of ambient, post-rock, ’90s emo, and a wealth of other genres, Woozy hit upon a career highlight with “Gilding the Lily”, a song that’s performed here with no shortage of focus or determination. A masterclass in dynamics and composition, it’s a deeply impressive look at a band well worth our attention.

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3. Ultimate Painting (3voor12)

After a strong debut effort in 2014, Ultimate Painting came surging back this year with even more formidable material. Utilizing the same breezy aesthetic, the band turns in a set of open-road anthems for 3voor12. The performances are uniformly strong and bristling with an almost paradoxical relaxed energy. Jangly, folk-informed basement pop at its absolute finest, this is another step forward for a band that seems determined to make a mark.

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4. Alex G – Soaker + Rules (WXPN)

Over the past several years, Alex G has built up a surprisingly passionate cult following thanks to a string of bandcamp releases, the right connections, and relentless touring. The project had its breakthrough last year with DSU and reached greater heights with this year’s outstanding Beach Music. WXPN recently invited the band into their studio and they responded with impassioned takes on both “Soaker” and “Rules”, providing the station with one of their best sessions of the year.

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5. Julien Baker (OurVinyl)

Some artists just have a natural gift for creating transcendental moments and Julien Baker has carved out a spot in their midst. Sprained Ankle, her aching treatsie on mortality and human limitations, is comprised of nothing but those moments. Whenever a record like that comes into the public eye, it’s never surprising when the live performances buckle under the weight of personal expectation. On rare occasions, the artist responsible for the collection will actually enhance the emotional impact via a commitment to the material that can feel devastating. Baker belongs to the latter category and OurVinyl provides a (gorgeously shot) definitive document of those instances. “Something”, “Sprained Ankle”, and “Rejoice” are all chill-inducing and reaffirm Baker’s position as one of 2015’s most striking songwriters.

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November 29, 2015

Watch This: Vol. 104

Another full session from Eskimeaux as they continue to play out in support of the brilliant O.K., this particular session also stands as what may very well be Ithaca Underground’s finest capture. A DIY presentation, it catches a much less manufactured look at Eskimeaux’s tantalizing live show with their strongest lineup. Songs like “Folly” remain as breathtaking as ever, while the viewer has the added benefit of an actual spectator vantage point, making the experience a touch more immersive. As everything comes together, this quickly becomes a vital document of an important part of Eskimeaux’s history. It’s not just worth watching, it’s worth all of the inevitable return visits as well.

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2. Wet Nurse (BreakThruRadio)

Scrappy basement pop is the lifeblood of this site and that occasionally can bleed over into the realm of pop-punk. Wet Nurse manage to find a compelling middle ground that makes them a fascinating variable whenever they’re lumped in with either category. “Belly Hurts” might be the best example of that middle ground and this BreakThruRadio session captures it– and the band’s general identity– with characteristic verve.

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3. Courtney Barnett (Austin City Limits)

In addition to Torres and Girlpool, the only other artist to become a permanent fixture of this series’s coverage throughout 2015 has been Courtney Barnett. An unlikely mega-success, Barnett’s been racking up acclaim, sales, and new fans with abandon. One of the biggest aspects of the songwriter’s draw are live performances and this two song effort for her Austin City Limits session is a formidable example of that particular strength.

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4. Mall Walk (KEXP)

Weird, dissonant post-punk with garage trappings has popped up more than a few times on this site and will continue to pop up anytime it’s done as well as Mall Walk does it here. One of KEXP’s spikier sessions in recent memory, it’s a five song onslaught that finds the trio firing on all cylinders. Aggressively bleak, a little unwieldy, and unreasonably propulsive, it catches the trio at a crucial point of momentum building. Expect to be hearing their name a lot more sometime soon.

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5. Braids (3voor12)

Sometimes a performance comes along and reminds you why you ever started caring about music. This is one of those performances. Anchored by the band’s unconventional approach to composition, the band commits to this three song performance and winds up with a session that feels essential. Wildly impressive and strangely moving, this isn’t a session to be missed.

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November 29, 2015

Watch This: Vol. 103

1. Soul Low – Always Watchin’ Out (Radio K)

Soul Low have slowly been building up an impressive discography and staking out a respectable spot in Wisconsin’s music scene. “Always Watchin’ Out”, the lead-off track from this year’s Sweet Pea EP, is their finest moment to date. Radio K recently had the band swing by their studio to deliver a blistering take on the song, which packs even more punch live than it does on record.

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2. Mikaela Davis (Consequence of Sound)

One of the most unexpected sets I saw over the course of 2015 came from harpist Mikaela Davis, who was part of Johanna Warren’s NYC release show for nūmūn. It was also one of the most beautiful. In the basement, it was just Davis– apart from a few songs she shared with Warren– playing solo. Consequence of Sound invited Davis and her full band into their treehouse for a captivating two song session that showcases the emerging songwriter’s prestigious talents.

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3. PUJOL (WKNC)

Every now and then, it’s necessary to just cut loose and blow off some steam. In those moments, there are few acts who seem more naturally suited to be the soundtrack than Pujol. No-frills rock n’ roll at its finest, it’s the musical equivalent of the kind of party that doesn’t leave a trace of bitter aftertaste. In this three song spree for WKNC, the trio rips through a few highlights that are surprisingly substantial for how light and airy they appear at first glance.

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4. Timeshares – Heavy Hangs (Little Elephant)

When Timeshares at their absolute best, they recall the finest moments of bands like Lucero and The Drive-By Truckers. They’ve never been better than “Heavy Hangs”, an impassioned cut from 2015’s Already Dead, the strongest record of their career. Shedding any hints of Fat Wreck influence in favor of a Southern drawl served them well on record but it works even better in performance.

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5. Day Wave (KEXP)

Just as Pujol seemed perfectly suited to those perfect kind of parties, Day Wave’s locked into breezy, consequence-free days. KEXP had the band come in for a session and the young quartet capitalized in full. Here, they deliver a five song showcase of their latest material that feels as comfortably lived-in as it feels refreshing. There’s not a weak track or performance here, just an emerging act intent on making the most of any opportunity that comes their way.

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October 10, 2015

Stove – Wet Food (Stream, Live Video)

STOVE

Continuing on with the round-up of the great material to be released over the past week, Steve Hartlett’s post-Ovlov project gets the top billing of a very strong crop. That crop included notable clips from Needs, Lionlimb, and Adir L.C. as well as impressive full streams from Lumpy & The Dumpers, The Winter Passing, and Dead Katz. All of those were rounded out by a characteristically strong grouping of new songs, which came courtesy of Run The Jewels, A Sunny Day In Glasgow, Tortoise, Self Defense Family, The Rashita Joneses, and Ex Hex’s outstanding cover of The Real Kids’ “All Kindsa Girls“.

The (actual) loss of Ovlov was a tough one to shake, though some of its members immediately applied some anesthetic to the wound by diving headfirst into new projects. Most notable was Hartlett’s initially solo expedition, which was then turned into a full band, Stove. Unsurprisingly, Stove retain a lot of the elements that made Ovlov such a respected name. If anything, Stove advances the band’s melodic sensibilities and veers closer towards basement pop than its predecessor; “Wet Food”, the latest song to be unveiled from the band’s forthcoming debut Is Stupider, is the perfect example.

“Wet Food” starts simply, anchored by Hartlett’s pleading vocals and outwardly-reaching guitar figure before exploding into a wall of sound that’s– almost paradoxically– welcoming and intimidating. It’s a scintillating masterclass in dynamics that continues Hartlett’s natural progression as a songwriter, augmented by a decisive sense of identity. Surging, pointed, and exhilarating, “Wet Food” stands as one of the finest entries in Hartlett’s enviable discography. More than that, though, it stands as one of the most tantalizing songs of the year.

Listen to “Wet Food” below and pre-order Is Stupider here. Beneath the embed watch a video of the band performing the song live on day 2 of Exploding In Sound’s extended weekend celebration earlier this year.

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October 10, 2015

Midnight Reruns – Canadian Summer (Music Video, Live Video)

2015’s made a habit out of producing incredibly strong weeks for new material and these past five days have proven to be no different. There were strong new songs from Pill, Dead Stars, Car Seat Headrest, Day Wave, Dressy Bessy, Hand of Dust, and Courtney Barnett’s excellent Boys Next Door cover. Winstons and Alex G both unveiled formidable releases and a trio of tantalizing clips from Greys, Braids, and Doe. While each of those titles are worth several glances, it was site favorites Midnight Reruns‘ latest music video to earn this post’s feature spot.

Fresh off the release of Force of Nurture‘s brilliant lead-off number “There’s An Animal Upstairs“, the band returns to their hangout mode in an endearing new clip for “Canadian Summer”. Previously, the band had all but perfected that approach with their memorably freewheeling “King of Pop” music video just over two years ago. This time around, instead of focusing on their friends and their current environment, they celebrate their roots- and drummer Sam Reitman’s father.

Guitarist/vocalist (and principal songwriter) Graham Hunt and Reitman used to practice in Reitman’s father’s home in a variety of projects and crafted the “Canadian Summer” clip as a loving homage to his influence (and his love of boats). Utilizing a meaningful place as the location for the shoot pays massive dividends, lending “Canadian Summer” an immediate, distinctly Midwestern, heart-on-sleeve feel that perfectly complements their musical sensibilities.

The song itself is an absolute monster, whose chorus hasn’t left my head since hearing it over a year ago (it’s become a rightful staple of the band’s live sets). Tempos switch, the song builds momentum, and the footage surrounding it drives home the earnest simplicity of it all. Midnight Reruns aren’t just a band that’s defined by their influences, they’re defined by their commitment to producing material that would make those influences proud. “Canadian Summer” is just the latest example of how well they’re succeeding.

Watch “Canadian Summer” below and pre-order a copy of Force of Nurture here. Beneath the music video, watch a clip of the band performing the song at the sorely missed Crunchy Frog in Green Bay, WI.

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October 7, 2015

Bad Cello – Live at Palisades – 10/4/15 (Pictorial Review, Live Video)

It’s strange for most of the buzz surrounding a show to be granted to the opening act but that seemed to be the case with last Sunday’s Bad Cello show at Palisades. The reason for that intrigue was due in part to the fact that this was to be the first time anyone would hear Patio, a band that’s been steadily practicing for months. As the trio took the stage there was a palpable level of both excitement and curiosity, with many people on hand to witness Patio’s public unveiling (they’d draw the biggest crowd of the day).

Only a few songs in, the band had staked out an identity; minimalist post-punks with a flair for wry humor, dissonance, and a strong pop sensibility (Sonic Youth’s more contained side and the early ’90s slacker punk movement stand out as very clear influences). As is always the case with new bands performing for the first time, there were a few hiccups here and there but that only seemed to lend to the project’s considerable charm. Vocal leads were traded off with a relative ease and the band committed to a gambit that came in the form of “Micro-balls”, a song rife with absurd sexual humor that paid massive dividends. The band was in complete control by the time their set closer rolled around, all but guaranteeing a promising future as a DIY staple.

Jeanette Wall, who set the show up (and who, like Patio’s Loren DiBlasi, has contributed to this site’s A Year’s Worth of Memories series), took the stage next to perform a handful of songs from her Band Practice project. Never taking herself too seriously, Wall infused her set with some genuinely entertaining (and mostly self-deprecating) banter that never came at the expense of the actual worth of her songs. All of the songs remained engaging even when stripped of their full-band trappings, allowing Wall an excess of space that was ably filled with charisma. The set was effectively split between comedy and music, with each half of the equation complementing the other to a surprising degree.

Following Wall’s entertaining theatrics were Glueboy, a young band that’s carved out a nice spot for themselves in Brooklyn’s DIY circle. Two releases into a young career, the band’s got heavy connections to DBTS and Double Double Whammy and those influences are very evident. Glueboy slipped into my listening rotation when I was looking for apartments in Brooklyn and wound up securing a spot where their bassist, Coby Chafets, was already residing (incidentally, I would move to that spot after a brief stint at DBTS).

Their brand of shambolic, punk-tinged basement pop appealed to me and allowed for some early ease of mind in the transition. However, despite that (and listening in on numerous acoustic jam sessions), I’d never seen the band play their songs live. On stage, their presence is relatively fearless, with each member making the most out of their granted space. Chafets and guitarist/vocalist Jonathan Marty trade off vocals at a rapid succession and occasionally sing in harmony, proving themselves to be a livewire act who manage to come across as both endearing and endlessly entertaining without ever sacrificing any substance.

By the time Glueboy’s explosive set had wound to an end, only a scattered handful of people remained for the electro-pop of Miscreant act Bad Cello, who still committed to the performance despite the glaring lack of numbers (I can’t think of a greater attendance disparity from opening band to headlining act that’s happened in recent memory). Showcasing material new and old, Bad Cello provided a dance-minded epilogue to the decidedly hodgepodge bill that somehow found a way to bridge a few contextual gaps. It’s difficult to imagine that each of the bills four acts won’t find their way to bigger things in their respective circuits as they move ahead. Genuine talent and a depth of promise wound up being the recurring themes of the matinee shows and it’ll be worth keeping eyes on each act as they move towards capitalization.

Watch a collection of videos from the show below and scan through a gallery of photos here.

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October 6, 2015

Daughter – Live at Baby’s All Right – 9/30/15 (Pictorial Review, Live Video)

Shortly after Mike Krol’s set finished, I received word that Daughter were playing a secret, unannounced-to-the-public 1 AM set and immediately made sure I found an attendance spot. The band’s been one I’ve held in high esteem and one of their quietest performances has stuck with me ever since my initial exposure to it several years ago. Very shortly into the set, it was made clear why it was kept under wraps: this was a show that the band wanted to make memorable for everyone in attendance- and it was also the show where they announced their forthcoming album, Not To Disappear.

Gracefully moving through a set that relied heavy on material from Youth but still made room for the new material, the band found themselves in fine form and silenced a sold-out room, who all grappled with various stages of awe. No matter what mode the band is in, whether they’re idling at a slow tempo or switching over to hard-hitting, they exude an impossible amount of grace. As the members trade off instruments (or trade endearing witticisms), they never seem anything less than serene.

Occasionally that calmness translates over to their music and creates an arresting, engrossing atmosphere. That intersection was never more evident than it was when the quartet unveiled the live premiere of their new single, “Doing The Right Thing” (which they’ve affectionately shorthanded to “Detroit” for the way the acronym appears on their set lists). Now that the song has a powerful video (one of the year’s finest) as an accompaniment, this memory rings even more fiercely but as the song’s closing lines were drawn out in a whisper, there was a silence so complete that thinking about it now, weeks after the fact, is enough to induce chills.

Everything in their set that had come before that moment and everything that will always have that singular performance as a reference point; it was that strong of a moment. As their set wound to a close, the band proceeded with a characteristic amount of elegance, never striking a false note. As the skies opened up outside and loosed a torrential downpour, their crowd filed out into the late-night storm in states of quiet reverie. In passing, I overheard a hushed “wow” that was immediately met with a silent nod, an exchange that acted as the perfect summation of a genuinely memorable evening.

Watch the band perform the title track from Youth below and explore a photo gallery of the show here.

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Tag: live video