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March 28, 2015

Geronimo! – Buzz Yr Girlfriend: Vol. 4 – Why Did You Leave Me? (EP Review, Live Video)

This weekend’s theme is going to be a difficult one and in the first piece to run, it’s a little more difficult to swallow than usual. Over the course of the next few posts, the one connecting thread will be loss. Why it’s so difficult to deal with here is because of the situation it’s attached to: it’s not present but it’s impending, unavoidable. Tomorrow night site favorites Geronimo! will be plugging in for one final run through a discography that never earned the levels of celebration it truly deserved.

For more than five years Geronimo! had been doing nothing but building momentum and when Cheap Trick, what would be their final full-length, was released it felt like a small victory lap. Well-received in the circles that kept tabs on labels like Exploding in Sound, which the band called home, and adored feverishly by the band’s existing fan base, it seemed like a stepping stone towards something bigger. While what’s happened surrounding the band’s tragically-titled EP, Buzz Yr Girlfriend: Vol. 4 – Why Did You Leave Me? (due out next Tuesday), it’s too little, too late- but it’s been a wonderful thing to see the band pick up that acclaim in the throes of their death rattle.

“They Put A Hook Inside of Me.”, “Low Fruit on the Vine”, and “Fires of Hell” constitute the band’s swan song and each earned a high-profile premiere (from VICE, Stereogum, and NPR, respectively). All three songs come with the band’s trademark buzzsaw intensity and near-feral levels of verve. There’s nothing as serene or tranquil as the opening minutes of Cheap Trick‘s “Euphoria” to be found anywhere on Why Did You Leave Me? but there really shouldn’t be, there’s no need. “Euphoria” was a definitive penultimate track and while Why Did You Leave Me? is as furious as possible, it’s impossible to shake the feeling that it’s functioning as an epilogue; one final sprint towards some intangible finish line.

A similar sense of closure was looming during the band’s farewell tour with Meat Wave and the feeling was palpable during the raucous set they delivered as part of Heartbreaking Bravery’s 1 year anniversary party. While that foreboding nature hasn’t always permeated the work leading up to Why Did You Leave Me?, it’d be impossible to fault the band if it had: bands that find themselves in Geronimo!’s precarious position, seemingly always on the verge of something bigger tend to have a high fatality rate- and that’s something that can resonate heavily in those bands’ works. Of course, when the death has been pre-determined, it crystallizes into something fully-realized and utterly engrossing (Why Did You Leave Me? being a perfect example).

Every song on this EP is a powerhouse that’ll serve as a potent reminder of Geronimo!’s enviable talents for crate-diggers generations down the line. From the bleating insistence of “Low Fruit on the Vine” to the whirlwind noise freakouts of “Fires of Hell” to the steady build of “They Put A Hook Inside of Me.” All of the punches that get thrown by Why Did You Leave Me? land at gale force, bludgeoning their way into not only a lasting mark- but a lasting impression. For all of the accolades and notoriety that the band had cultivated within their select niche, Buzz Yr Girlfriend: Vol. 4 – Why Did You Leave Me? sees the band making a spectacular exit at the peak of their powers.

For this release- and for everything else the band’s ever done- show them thanks. Make sure that this band’s celebrated even after they’re gone and continue to celebrate bands like them as they come out of the woodwork. Give Cheap Trick another listen tomorrow, wear a Geronimo! shirt, throw in one of their tapes (Buzz Yr Girlfriend: Vol. 3 – The Metal David Byrne is a personal favorite), or watch some old clips. Give them messages of kindness and thanks on their social media pages throughout the day. Make sure they’re remembered in some capacity and give them the respect that they’ve earned since day one. Embrace the band as much as possible while they still exist- because after the sun comes up on Sunday, they won’t be around any longer.

Get the limited edition cassette from Exploding in Sound now before they’re gone, listen to (most of) the EP in the bandcamp player embedded below, and watch the EP performed in its entirety in the YouTube embed at the very bottom. Most of all, don’t miss the band’s farewell performance with Meat Wave, VAYA, Foul Tip, and Velocicoptor at Beat Kitchen tomorrow night in Chicago– and applaud as loudly as possible when the band takes their final bow. Enjoy the songs, enjoy the footage, and enjoy the hell out of the discography that Geronimo! is leaving behind.

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November 9, 2014

Watch This: Vol. 54

With another week of predictably great live outings behind us, it’s time to look back on some of the best videos to surface in that stretch. It’s also another week were limiting the selections to five can be frustrating, as it means excluding things like S’ gorgeous KEXP session and an equally stunning set from She Keeps Bees for bandwidth. That said, the fact that those aren’t in the featured five is a particularly strong indicator for this week’s overwhelming strength. Full sets made a sizable impression and secured three spots in this series’ 54 installment while Watch This returns to Nick Cave & the Bad Seeds’ Austin City Limits session and pays a visit to a soul legend. There’s a lot of memorable material on display, all of it worthy of a serious amount of admiration. So, as always, sit back, mute the world, let all of the distractions dissolve, adjust the volume to appropriately blistering levels, relax, and Watch This.

1. PUJOL (KEXP)

PUJOL’s The United States of Being was the kind of quiet career-making record that had the potential to push the band onto the radar’s of some influential people. However, any time that happens it also heavily increases the levels of expectation for a follow-up. A contract with Saddle Creek and one excellent record later, PUJOL’s doing their best to put those doubts to rest. One thing that’s never been in doubt? The band’s ability to deliver a killer live performance, which is exactly what they turn in via this blistering (and absurdly fun) four-song set for the unfailingly great KEXP.

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2. Lee Fields – Don’t Leave Me This Way (La Blogotheque)

There are few things more reassuring to see than a person being celebrated for doing something they both excel at and clearly love. In their most recent video for their acclaimed Take Away series, La Blogotheque turned their lenses on soul legend Lee Cooks delivering a powerful performance of “Don’t Leave Me This Way” to a group of appreciative bystanders, accompanied only by a guitarist. It’s a staggeringly beautiful reminder of Fields’ natural prowess as a performer and an incredible moment that was lovingly captured for everyone to visit (and revisit) for years to come.

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3. Ex Hex (WNYC)

Rips was one of 2014’s best reminders of classic rock’s curious longevity. The Mary Timony-led Ex Hex specializes in creating the kind of timeless earworms that aren’t tied down to any particular scene or movement, just the band’s commitment to the project. Here, they confidently make their way through three songs from one the year’s most carefree records for WNYC, seeming as poised as ever. Timony’s a naturally gifted leader and a charismatic vocalist, all of which ensures that no Ex Hex performance is worth overlooking.

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4. Nick Cave & the Bad Seeds (Austin City Limits)

“Jubilee Street” was one of the most mesmerizing moments on Nick Cave & the Bad Seeds’ latest career highlight, Push the Sky Away. Live, it takes on new life and breathes a new kind of fire with a surging outro that progressively increases the tempo. Easily one of the band’s most impressively massive live songs, the performance they delivered for Austin City Limits was predictably inspired, with Cave flying from the mic to the piano, becoming as frantic as the song itself over repeated cries of “I’m transforming; I’m flying; I’m vibrating; look at me now!”- directions that become impossible to ignore as one of the greatest bandleaders in the history of music sheds all traces of inhibition as his band urges him forward and lets him sink his teeth into yet another transcendental performance.

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5. Saintseneca (KEXP)

Watch This‘ 38th entry included one of the most beautiful videos this series has ever had the pleasure of featuring; Saintseneca’s Tiny Desk Session. Unsurprisingly, the band hasn’t lost an ounce of their touch and deliver yet another brilliant performance for KEXP. Easily one of the most intriguing bands to carve out a name for themselves in 2014, their brand of subtly punk-influenced Appalachian folk helped turn Dark Arc into a very real candidate for Album of the Year. Here, the band runs through four songs and hit a series of impressive grace notes, making room for standout takes of the painfully gorgeous “Fed Up With Hunger” and the driving “Happy Alone”. All told, it’s a perfectly timed reminder of a band and record worth their acclaim.

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November 2, 2014

Watch This: Vol. 52

With another week behind us (and a few milestones), it’s time to look back at some of the best live videos that surfaced during that time. Unsurprisingly, there were a fair few videos vying for contention- and, in a rare case, there were too many worthy of feature spots to contain to just one installment of this series. To that end, these are the first five entries in what will be another two-part showcase for great live footage. A few bigger names make appearances in volume 52 but, as ever, their performances are characteristically exemplary and impossible to ignore. From a few revered songwriters to the emerging acts, there’s a lot to love. So, as always, sit back, dim the lights, lean in, and Watch This.

1. Two Inch Astronaut (BreakThruRadioTV)

Foulbrood, with all of its sharp left turns and subtle nuances, has a claim as one of 2014’s best records. With the title track and “Part of Your Scene” already hinting at just how much creative muscle’s being flexed on Foulbrood, one of the only real questions was how these songs would hold up in a live setting. With their Live Studio session for BreakThruRadio they put any doubts to rest; this is a band that’s ready to leave a lasting mark.

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2. Restorations – Tiny Prayers (Little Elephant)

Restorations have been building up a steady buzz around their name over the past few months and a large part of that’s due to their powerhouse live performances. Little Elephant proves to be the perfect venue to showcase their towering, Midwest-inflected basement punk. With LP3 continuing to make the rounds and live turn-ins like the one featured here, a great future for Restorations is theirs for the taking.

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3. Nick Cave & the Bad Seeds – Stagger Less (Austin City Limits)

By this point one thing should be entirely evident; there will never be enough words to do Nick Cave & the Bad Seeds proper justice. Cave’s a freakish force of nature, a preacher who’s actually made of brimstone and fire, and the band he’s assembled behind him are talented enough to match Cave’s genius (a term that’s not used lightly). PBS’ notoriously white bread Austin City Limits series recently made the commendable decision to feature Cave and his collaborative partners for their most recent episode. Understandably, they saved the (brilliantly edited) profanity-riddled Murder Ballads classic “Stagger Lee” as a web exclusive. As can be safely expected, the performance is a killer.

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4. Jenny Lewis – Slippery Slopes (KCRW)

The Voyager is one of this year’s great road trip records, Jenny Lewis’ tour-ending show at Minneapolis’ famed First Avenue was an unforgettable display of charisma and raw talent, and Lewis remains one of this generations finest songwriters. Having already established a reputation as one of the more celebrated independent songwriters, Lewis could have easily relegated the rest of her career as a victory lap after various successes with both Rilo Kiley and as a solo act. Thankfully, for everyone, Lewis isn’t one to stay still- and will always be up to the task of providing a stunning performance, like this run through “Slippery Slopes” for KCRW.

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5. Fucked Up (Exclaim!)

Fucked Up are one of the more fascinating anomalies in music, a hardcore band that pisses off purists and appeals to people that aren’t normally into harsher genres. A band that makes records tethered to ambitiously sprawling narrative arcs, usually seeped in religion and heavily influenced by epics. Literary, self-aware, and visceral, their records hit like an anvil and their live shows tend to facilitate a palpable sense of community. A few recent performances and interview snippets are featured here in the excellent Coastal Frequencies series, courtesy of Exclaim!. It’s an excellent profile of one of the most interesting bands of the past 15 years.

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October 31, 2014

Heartbreaking Bravery Presents, Vol. 1: Meat Wave, Mumblr, Geronimo! (Videos)

Time to get unnecessarily personal, starting with a number. 365. 365 days, more accurately. It’s a long time to dedicate to anything and it’s the mark that this site hits today, with it’s 365th post. It’s been an insane (and insanely rewarding year), one that’s helped define the past year of my life. I owe this place a lot and it’s given me more than I’d ever hoped for- from one of my closest friends (and patron saint of Heartbreaking Bravery) to an overwhelming amount of support from the labels I genuinely love (especially in the cases of Double Double Whammy and Exploding in Sound) as well as more than a few artists- and guaranteed that this site wouldn’t be relegated to a passing interest. The reason I own a nice camera, the reason I flew out of the country, and a whole arsenal of reasons for my decisions to continue pursuing music journalism by any means possible can all be traced directly back to this site. It’s been humbling to watch it grow (in both size and scope) and it will be fascinating to look back on this very post a year from now as its constant evolution has the potential to open several intriguing doors. Even comparing yesterday’s Halloween post to the very first thing to be published here, there are more than a few noticeable differences.

With a wide set of rules for the site now firmly in place, from the every-50 post Mixtape to the every-Sunday Watch This, this site has kept me on my toes. Gender identifiers don’t get used, ethnicity doesn’t get specified, orientation and preferences are given a deep amount of respect, and everything is treated with empathy because music’s simply that: music. It’s a universal act of artistry that I built this site to support in the best way I could see fit: by shining spotlights on the emerging artists that truly deserved the attention. Granted, their have been a few names to get written up over the year- but that’s only because they either produced something masterful or remained true to a DIY ethos.

Keeping all of that in mind, I was fortunate enough to be gifted an opportunity to celebrate this year-in-existence mark with a showcase. Everything came together at the right time and I wound up putting together the first-ever Heartbreaking Bravery Presents showcase, featuring three bands that had earned positive reviews from this site. Meat Wave and Geronimo! were the first two bands to sign on, as they were touring from their home town of Chicago up to New York for CMJ as a predecessor to Geronimo!’s bittersweet goodbye, then- by some weird miracle- Mumblr wound up with a free night and an open tour slot and became a late addition. A Blue Harbor, a band that started off as a solo project and then turned into a band (full disclosure: I play bass in the full band version), provided the local support. Everyone piled into a basement venue called The Powerstrip and all three touring bands played their hearts out to a rotating cast of people that exceeded 100 by some margin. After playing a quick set, I set up camp and filmed the majority of Meat Wave, Mumblr, and Geronimo!‘s sets, which can now be seen below. I’ve played a lot of shows and I’ve seen quite a few more than I’ve played- but none have meant as much as this one. So, thanks to the bands for coming out and playing this, thanks to the readers for reading, thanks to the artists and labels for caring, thanks to the writers who have expressed interest in contributing content, and thanks to literally anyone else that has even been a tangential part of making this site’s continued existence possible. I will always be in your debt and you will always have my gratitude. Thank you. Here’s to another year of growth and positive change.

Without further ado: here’s the footage from this site’s first showcase. Enjoy.

MEAT WAVE

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MUMBLR

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GERONIMO!

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October 19, 2014

Watch This: Vol. 50

Today Watch This enjoys it’s 50th installment. There have been 245 videos or small playlists featuring great performances up to this point. In celebration of this, today’s entry into the series will take a route that the feature’s only explored twice before and revolve around videos that were self-shot. It’s been three months since parting ways with the handheld camera that was responsible for all of the earliest footage in the Heartbreaking Bravery archives. Over that time, a lot of songs have been filmed by a lot of great bands. All of the videos in today’s installment have never been featured anywhere else. Additionally, with this being a more personal endeavor, the restrictions on first-person narrative will be temporarily lifted. Now, with all of that said: sit back, turn the volume up, and Watch This.

1. Mitski (Live at Beat Kitchen)

I’ve made no qualms about my love for Mitski and her upcoming record Bury Me At Makeout Creek but seeing her live set added a new depth to that appreciation. Backed by half of LVL UP, Mitski’s songs were transformed into a force that was as beautiful as it was ragged. Having spent part of the day with Mitski prior to her set, she revealed a gentle nature that helped inform her music to a greater extent- rendering the moments where she strips her emotions raw all the more cathartic. In this set the songs featured are “Townie“, “First Love / Late Spring”, and “Drunk Walk Home”.

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2. Space Raft – Venus In Transit (Live at Crunchy Frog)

One of the best small band bills that Wisconsin’s seen this year was made up exclusively of in-state acts when Space Raft headlined Green Bay’s Crunchy Frog in mid-August. After incredible sets from the likes of The Midwestern Charm, Beach Patrol, and Midnight Reruns, Space Raft offered up a set that firmly cemented their reputation as one of Wisconsin’s most dynamic (live) bands. Here, they take a flawless run through “Venus In Transit“, a highlight from their rightfully acclaimed self-titled debut.

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3. Geronimo! – Spitting in the Ocean (Live at The Powerstrip)

Last night, Heartbreaking Bravery presented a basement show in Stevens Point that featured three bands which I’d previously written about within the confines of the site. Geronimo! played last and delivered a blistering set that made their imminent departure all the more bittersweet. Having spent the better part of this year casually fawning to anyone who’ll listen about the band’s extraordinary Cheap Trick, being able to provide a visible platform for both the band and that record was nothing short of an honor. In this clip, the band tears through a particularly vicious version of one of 2014’s best songs, “Spitting in the Ocean“.

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4. Pile – Special Snowflakes (Live at The Burlington Bar)

Another highlight from 2014, Pile’s “Special Snowflakes“, became an emphatic moment of reckoning when the band laid it to waste at The Burlington Bar towards the start of this month. Only one of a very small handful of live songs this year to give me violent chills, it also became the turning point that turned Pile’s set from a strong showcase into an unforgettable event. With the lighting appropriately dim, all it took was “Special Snowflakes” to temporarily transform The Burlington Bar into the river Styx.

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5. LVL UP (Live at Beat Kitchen)

At this point, LVL UP, Double Double Whammy (a label half of LVL UP founded and still runs), and Exploding in Sound may very well be responsible for earning the most words from this site over the past few months. Both labels had a hand in releasing Hoodwink’d, which easily stands out as one of the year’s best records. It was a record I formed a fierce connection with in a terrifyingly immediate manner. Taking all of that into account, my expectations for their live set at Chicago’s Beat Kitchen were high- likely unreasonably high. Any doubts that I had over whether or not they’d live up to those expectations- not to mention that connection- were assuaged before their first song drew to a close. By the end of their set, they’d solidified their status as one of my absolute favorite bands- which is why they’re closing out this set of videos. Contained in these videos are performances of “Annie’s A Witch“, “I Feel Ok“, “Hex“, “Roman Candle“, “Alabama West“, “Black Mass“, and “ELIXR (19)“.

It’s also worth noting that LVL UP recently ran into some van issues that have temporarily derailed their tour- to help combat this and set things right, they’re offering Hoodwink’d as a pay-what-you-want deal on their bandcamp in an effort to help secure the necessary funding to get everything back up and running. Site favorites Big Ups are doing the same with their Flagland split and putting all of the donations towards the repairs as well (Big Ups and LVL UP will be joining up for a tour when everything’s fixed). Donate whatever’s possible to help a great band made up of great people- and get a lot of great music in return. After all that’s said and done, go ahead and come back to Watch This.

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October 17, 2014

LVL UP at Beat Kitchen – 10/12/14 (Pictorial Review, Video)

Over the past few months, this site has given plenty of coverage to both LVL UP and the label two of its members founded (and run), Double Double Whammy. Included in the ranks of the Double Double Whammy roster was another artist who’s emerged as a site favorite: Mitski. When the two announced they’d be touring together (and, subsequently that LVL UP would be backing Mitski), being in attendance for the nearest show was a foregone conclusion. On October 12, their tour made its way to Chicago’s Beat Kitchen where they headlined a bill that also included local acts Mtvghosts and Staring Problem.

Mtvghosts kicked things off after narrowly avoiding being no-shows and made their way through an energetic set of Strokes-influenced powerpop (not too dissimilar from Locksley). Now a few releases into their career, they made their way through a high energy set and played off each other nicely. Utilizing an abundance of energy and a clear connection, their set succeeded on pure entertainment value- Staring Problem‘s Lauren Owen would later make an amusing remark on the vocalist’s “Paul McCartney head thing”. While it’s clear Mtvghosts have a very firm grasp on composition and how to write a good pop song, not too much of it had any kind of longevity- although there’s enough talent in the band to suggest that point may not be too far down the line.

After Mtvghosts unabashedly pop concoctions, Staring Problem dove headlong into a set of primal post-punk that was tinged with early goth-punk influences. With songs that felt deadly serious and had pulsating undercurrents of the overwhelmingly bleak, they managed to sink into a groove that left most of the audience in a hypnotic trance. Mtvghosts may have had Staring Problem beat in terms of stage presence but Staring Problem’s songs proved to be immensely gripping, if unrelentingly minimal (their drummer’s kit was bare-bones and the only cymbal it made room for was a hi-hat). Impressive bass riffs dueled with intuitive guitarwork and Owens’ tranced-out vocals. Even with an emphasis on the grave, the band found room for humor; a song called “Pictures of Morrissey In Jake’s Locker” wound up being an unexpected highlight. By the time they exited, it was difficult to imagine they hadn’t made a few converts.

Mitski‘s been making quite a name for herself lately. After two very strong records of avant pop, the songwriter’s made a sharp left turn into blissed-out noise pop. With the distortion cranked up on the extraordinary soon-to-be-released Bury Me At Makeout Creek it’s afforded Mitski the chance to reignite an already impressive career. “Townie“, “First Love/Late Spring“, and “I Don’t Smoke” all showcase layers of a seriously enviable talent in composition and musicianship (as well as some gorgeous- and expansive- production), which shouldn’t be surprising taking into account Mitski’s SUNY Purchase background. Incidentally, SUNY Purchase was where Mitski would meet the members of LVL UP and forge a connection that would have direct implications for both artist’s respective careers.

Taking into account the high-functioning levels of production that provide Bury Me At Makeout Creek part of its character, a large portion of the pre-set anticipation lay in how Mitski would bring these songs to life with the assistance of LVL UP. Less than a minute into “Townie” any doubts that the songs would lose even a fraction of their appeal were absolutely annihilated. Aided by Michael Caridi on guitar and LVL UP bassist Nick Corbo on drums, Mitski lay into the song with a startling amount of intensity, causing the audience to erupt in bewildered applause by the song’s close.

All it took was that first song for Mitski to expand and win over an entire audience, which raises the stakes considerably on the expected reaction to Bury Me At Makeout Creek once it’s out in the world. Caridi and Corbo both flashed extremely impressive chops as Mitski commanded attention with the kind of effortlessness that suggests much bigger things will be happening for the emerging artist in the very near future. When Mitski’s set closed with Mitski absolutely shredding her vocal cords in bouts of guttural screaming at the end of “Drunk Walk Home”, half the audience seemed to be left speechless- and it was difficult to fault them- Mitski had delivered the kind of set that warrants the highest kinds of praise and ensures that even more people will be drawn into her orbit.

After Mitski’s set, it wouldn’t have been too surprising to see someone leaving thinking they’d seen the headliner- but it wasn’t before long that LVL UP proved that they were up to the task of following a gift of a set with another exercise in killer performances. Having already delivered one of the year’s best records in Hoodwink’d and one of the year’s best songs, “Big Snow“, on an absolutely essential split, their live set had quite a bit to live up to. Boasting a discography that’s bursting at the seams with songs that project a casual confidence and an excess of charisma, LVL UP’s very nature is practically defined by their willingness to embrace each the unique personality of each principal songwriter (Caridi, Corbo, and Trace Mountains‘ Dave Benton).

“Soft Power“, “Ski Vacation“, “DBTS“, and “I Feel Ok” all hinted at LVL UP excelling as a complementary unit that would easily function when stripped back to individual elements. Balancing on the precipice between detached apathy and unbridled energy, the band’s songs came to weird, vibrant life in the live setting. Everyone traded off vocals with a casually practiced ease and a fiery commitment. True to Space Brothers‘ form, several of the songs bled into each other- with a particular highlight (one of a very large handful) being the opening trio of tracks from that very record. In fact, much of their set played out like a contained suite, with everything retaining maximum impact.

There was more than one point through LVL UP’s set where time seemed to be completely lost, as the band kept the audience engaged while they occupied their own world. Song after song, they demonstrated just about every reason why they’re a band worth celebrating- only emphatically enhancing the live elements of that particular spread. Solos were traded, select songs were extended with surprisingly heavy bridges and outros, and- more than anything else- left-field personality was exuded. Hoodwink’d and Space Brothers were about evenly split throughout the set, and both songs from the band’s incredible split with Porches. were represented as well.

While Corbo, Caridi, and Benton all shared a fair amount of spotlight, drummer Greg Rutkin held everything down with brute force and an unfailingly exact precision that made songs like the closing “ELIXR (19)” sound absolutely massive. Just like on record, everything managed to complement everything else in a manner that made all of LVL UP’s songs feel intensely alive. Before their set, each member had voiced various concerns about their headlining slot and thanks for Beat Kitchen’s kind accommodations (including sound, which was pristine throughout the show). When “ELIXR (19)” drew the set to a powerful close, it provided an exclamation point to a stunning set that coursed past their early apprehensions into the realms of the sublime. If there was any reservation about this before, their set ensured one thing: 2014 is LVL UP’s year. Get on board before it’s too late.

Watch a clip of LVL UP playing “Soft Power” and “Bro Chillers” below. Underneath that, view an extensive photo gallery of the show.

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: LVL UP XV

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October 6, 2014

Watch This: Vol. 49

To start: this won’t be today’s last post. This will be this week’s Watch This, though, as next Sunday’s going to be devoted to work for an upcoming feature. Additionally, last week brought forth an embarrassment of riches and one Watch This just wasn’t enough to cover everything. All of that is to say that this will be another non-conventional installment that will offer a small break from the regularly scheduled every-Sunday appearance of this series. In the 49th installment, the performances take place in everything from small shops to late night talk shows and festival aftershows. Every performance is committed and provides some insight into the level of dedication these bands put into their live set. It’s all worth taking a few beats to take in- so, as always- sit back, focus in, turn the volume up, take a deep breath, and Watch This.

1. Ty Segall – Manipulator (KCRW)

It’s strange to see the Ty Segall Band playing in an environment this contained- and it’s evident the band’s doing their best not to jump out of their skin while they tear through the title track off this year’s excellent Manipulator. Even if the band can’t exercise their usual being-shocked-to-death style movements as freely as they’d be able to without the restraints of their headphones, this is still one hell of a performance- and a great reminder to see them as many times as possible.

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2. Mountain Bike – Good for Nothing (Bruxelles Ma Belle)

As what will likely be an introduction to Mountain Bike for many, it’d be impossible to ask for something more artfully executed than their recent session for Bruxelles Ma Belle. Shot in a small store, the band delivers a performance of the excellent “Good for Nothing” with an infectious amount of verve. Gorgeously lensed and perfectly executed, it’s enough to suggest that Mountain Bike are just getting started.

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3. Posse – Shut Up (Pitchfork)

Any time a band shares the stage with METZ (whose performance at this show was featured in yesterday’s Watch This), it’s going to be difficult for that band to hold their own. That Posse manages to do so while playing a much more downtrodden, folk-influenced variant of post-punk is a feat that can’t be overlooked. “Shut Up” is an arresting performance of hypnotic proportions and, by being just that, easily secured Posse an entry in this volume.

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4. The So So Glos – Diss Town (Last Call With Carson Daly)

How the hell does Blowout keep sounding better? The So So Glos‘ breakthrough effort from last year was full of a joyous strain of music that perfectly married basement punk with basement pop and having neither influence outshadow the other. Live, the band manages to up the already considerable levels of energy, turning their shows into mass singalongs that border the cathartic (which is why this band has been showing up in this series since the very first installment). Everyone’s in on it together, the band, the audience, and the people the band brings in- like the trumpet player and the person in the wings who looks like he’s having the time of his life less than a minute into this no-brakes performance of “Diss Town”. Don’t be the only one left out of the party- everyone’s always invited.

[Due to some temporary embed issues this video can only be seen here.]

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5. Mount Eerie – Emptiness (Pinball Sessions)

P.W. Elverum has been making breathtaking music for several years now, under a variety of different guises. Mount Eerie has always been the one that’s stood out, thanks in part to Elverum’s fearlessness in regards to form and expectations. From relentlessly heavy sections that threaten to take post-rock into the realms of doned-out doom to the blissfully melancholic, it’s anything but predictable. Seeing Elverum strip away all of the ambient soundscapes to deliver a solo piano performance is an arresting experience for a myriad of reasons, each pointing to one simple fact: this is an artistic voice that still warrants our full attention.

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October 5, 2014

Watch This: Vol. 48

The 48th installment of Watch This reads like a laundry list of this site’s favorite places to cull videos from; Allston Pudding, The Chris Gethard Show, and Little Elephant among them. Live versions of songs that have previously been fawned over resurface with new levels of urgency and old treasures prove their longevity. Every performance that gets featured here is impassioned and clearly illustrates the respective band’s obvious connections to their own music (with a strain of apathy-fueled music growing steadily prominent, this is- unfortunately- more of a rarity than common occurrence). Trying to wax poetic about most of these videos in this paragraph would most likely just wind up doing them a disservice, so: sit back, turn the volume up, ignore the time, lean in, and Watch This.

1. Little Big League – Property Line (Little Elephant)

There hasn’t been a band in quite a while to pull off what Little Big League achieves by virtue of this placement; this is their third consecutive video to appear in this series- in as many weeks- and they’re all from the same Little Elephant session. So, some straight talk: “Property Line” is one of the year’s best songs and the band’s current career-best effort. Even though the live version doesn’t have the benefit of those chill-inducing horns, it retains its formidable pull. As always, the band reveals themselves to be an excellent live act and provides several reasons to get excited about their upcoming LP, Tropical Jinx.

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2. Sweet John Bloom – Aging In Place (Allston Pudding)

Allston Pudding’s made a habit of making impressive live videos- this outstrips all of their previous work with an assured ease and a new level of confidence that suits them well. An extraordinary live-edit that features a stunning performance from emerging act Sweet John Bloom to promote their upcoming full-length, Weird Prayer. Expertly marrying high-energy basement pop with deliriously frantic post-punk, it’s inclusion would have been an easy decision as an isolated standalone- the additional edits towards the video’s close put it way over the top and render it one of the more artistically inclined live videos to ever appear in this series. Don’t skip out on this one.

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3. Protomartyr (La Blogotheque)

Protomartyr’s Under Color of Official Right was one of the highlights of 2014’s first quarter and it’s held its ground ever since its release. Here, the band teams up with La Blogotheque to film stripped-back live performances of “What the Well Said” and “Scum, Rise!” in the moats of Saint-Malo, a port city in France. It’s a fitting backdrop for the band’s take on post-punk, something that bears the influence of their Detroit home. Unsurprisingly, it’s spectacularly shot and bizarrely compelling, continuing La Blogotheque’s unique penchant for producing live footage that excels on those levels.

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4. Jeff Rosentstock & Friends – Hey Allison! (TCGS)

Don Giovanni comedy darling Chris Gethard hosts a show. These shows host live acts. It seems that nearly every time a video of these performances surfaces, it earns a spot in this series. Jeff Rosenstock‘s “Hey Allison!” has already emerged as one of the more relentless earworms of the past few weeks and the live version is an all-out blitz. Anytime anyone puts this much heart into music this good, it’s going to earn a write-up. The Chris Gethard Show also has the unique advantage of utilizing a crowd of misfits being encouraged to be as weird as possible, turning single song performances into outright events. There are few things more encouraging than watching a band and an audience enjoy each other’s company in equal measure at an absurdly high degree. This is can’t-miss entertainment.

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5. METZ – Get Off! (Pitchfork)

METZ was one of the more unforgettable debuts of the past few years and the band’s live show, easily one of the best around, pushes those songs to exhilarating heights. Employing humanism and sonic annihilation at roughly the same pace, anytime the band takes the stage it’s a small victory for everyone involved. Here, they tear through a fired-up version of “Get Off” and incite some fierce reactions from an adoring crowd. METZ themselves remain as entertaining as ever, putting just about everything they have on the line every time they take the stage- and they’re showing no signs of slowing down.

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September 28, 2014

Watch This: Vol. 47

Welcome to the 47th installment of Watch This, the weekly series that celebrates five of the best live videos to emerge from the past seven days. These videos can be pulled from anywhere but need to have one unifying factor; they need to feature great performances. In the last full week of September, things were no different. This week’s entries cover a unique spread that reaches to the furthest corners of the genres that usually get covered on this site. From KEXP sessions to another outstanding take for Little Elephant, this week had quite a bit of material that warranted quite a bit of attention. Mining both the mainstays and the furthest reaches of various resources resulted in an eclectic mix of bands- and live videos- well worth the time. So, sit back, unwind, turn the volume up, lean in, and Watch This.

1. Cymbals Eat Guitars (KEXP)

2014 may not see a record more personal than Cymbals Eat Guitars’ LOSE. Their third full-length was directly informed by the loss of a close friend, something that’s heavily referenced throughout the course of the album. While it’s strange to say a record’s life-affirming in the face of such heavy subject matter, it’s equally difficult to argue against with songs like “Jackson” (easily one of the year’s best songs) and “Warning“. As exhilarating as those songs are on LOSE, they’re given new life in a live setting- with the emotional resonance firmly in tact.

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2. Little Big League – Deer Head (Little Elephant)

Over the past week, no band has earned more feature spots that Little Big League. After last week’s Watch This segment, they went ahead and released the stunning “Property Line” in advance of their upcoming record, Tropical Jinx. “Deer Head” is another take from their Little Elephant session and shows the band in fine form, navigating their way through the song’s transitions with no shortage of verve. Put simply, this is just another strong example of why Little Big League are one of today’s most exciting young bands.

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3. Free Cake For Every Creature (WKNC)

Skewed outsider pop can be a beautiful thing that brings out the best of the people that lend it any amount of investment. Free Cake For Every Creature have experienced an outpouring of support from people that have the power to bring them a staggering amount of recognition. It’s easy to see why; the band crafts music that’s relatable, endearingly fractured and absurdly catchy. Everyday problems ground the lyrics while a jittery nervousness propels the off-kilter arrangements. Packaged together, it becomes endlessly fascinating and rewards investment with a surprisingly assured ease. Their WKNC session confirms what an increasing number of people already know: this is music worth celebrating.

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4. Tycho (KEXP)

Tycho are an anomaly. They defy an easy convention, are defined by their no-wave and post-punk influences as much as they are by their tendencies towards electro and dance-punk. Here, KEXP invites them in for a session and the band quickly finds their way into impenetrable grooves, aided by the backdrop of a projection display of what appears to be random archival footage. While most bands operating in similar territories could easily coast on impressive music ability alone, what makes Tycho stand out is their music’s penchant for being engaging so instantaneously. This is a masterclass in compelling song dynamics, innate ability, and genre defiance.

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5. Earth (unARTigNYC)

Nearly everything that can be said about Earth has already been spoken, shouted, whispered, or printed. The doom-y ambient overlords have staked out a reputation as one of the most influential acts in music by virtue of an immensely impressive discography that touches on a variety of increasingly prominent genres. As mesmerizing as ever and more accessible than any point in their career, the trio recently stopped by St. Vitus to deliver a characteristically foreboding set as part of the David Lynch Foundation benefit. As always, t’s a fascinating exercise in tension and restraint, steadily building towards a climactic moment that never seems to come.

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September 14, 2014

Watch This: Vol. 44

Welcome to a late-night installment of Watch This, the 44th in the weekly series that celebrates the best live performances to surface in the previous week. This time around, there’s a split between full sets, late night performances, and DIY presentations that all include bands that have previously earned themselves features (or extended mentions) on this site. Whether it’s another jaw-dropping full set from White Lung or a revitalized Death From Above 1979 diving headfirst into their single, these are all worth watching. Normally Watch This is posted much earlier on Sunday, so in the spirit of today’s delay, the featured videos get darker in atmosphere as they progress. Day turns to night and Volume 44 gets to lay claim to five great performances. So, sit back, relax, take a drink, ease up, and Watch This.

1. Death From Above 1979 – Trainwreck 1979 (The Late Show with David Letterman)

The Physical World, Death From Above 1979’s long-awaited follow-up to the classic You’re A Woman, I’m A Machine, may have disappointed a few people with absurd expectations. Most of them were hung up on their own projections of what they thought the band should be instead of letting them come out of hibernation to evolve naturally. It’s hard to think that any of them would be disappointed by a performance like this one, which winds up being part of a late surge of memorable talk show performances.

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2. Benny the Jet Rodriguez – Alley Cat (Razorcake)

Is the sound on this the greatest? No. Does it need to be? Same answer. Is this a great take on a great song from a great record? Absolutely. Does the combination of logos, titles, and credits make it difficult to definitively credit? Extremely. How are more people not talking about Benny the Jet Rodriguez and Home. Run? That’s impossible to say- but it needs to change. When should that change start? Right now. Does every city deserve a venue like VLHS? Definitely.

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3. Diarrhea Planet (KEXP)

Diarrhea Planet may have released a very good record the other year that holds up as a standalone piece but their reputation was almost entirely built by virtue of their excitable live shows. This KEXP session goes a long way in confirming any of the uninitiated’s suspicions that they have a penchant for the irreverent and wild- and that’s all that really needs to be said. Just watch the video.

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4. White Lung (unARTigNYC)

This isn’t the first full White Lung set to earn itself a feature on Watch This. Hell, it’s not even the first one that comes courtesy of unARTigNYC. All that said, the band keeps managing to get better, a feat of borderline absurdity considering they’re already one of the better live acts out there today. Easily the best-looking and best-sounding White Lung set to find its way onto Watch This, their recent set at Palisades found them in their fieriest form (especially after a very tense moment towards the start of the set that found vocalist Mish Way pushed to the point of physically accosting and ultimately ejecting an audience member)- absolutely laying waste to a selection of songs that leaned heavily on 2014 standout Deep Fantasy. Even if the whole set was emotionally charged thanks to the severely unfortunate circumstances, it provided a handful of thrilling moments and cemented White Lung’s status as one of today’s most exciting bands.

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5. Nothing (KEXP)

Nothing are notorious for eardrum-obliterating volume levels when they play live, which seems fitting for a band so prone to relentless heaviness. Here, they hold nothing back and give KEXP one of the station’s more memorable sessions- creating an entrancing sprawl that sides towards the heavily atmospheric. Guilty of Everything was a high point of mid-2014 and is well-represented here. Apart from a few fairly awkward interview exchanges (which is probably putting it mildly), the individual song performances are weirdly mesmerizing. All in all, it’s hard to ask for a better way to cap off another great week of documented live music.

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Tag: live video