It’s literally impossible to stress just how varied and stacked the lineup for NXNE is this year. Toronto’s going to be overflowing with bands, bands’ friends, and fans of bands in just over a month (moreso than usual). To help make the process of picking out who to prioritize on any of the potential “to see” lists floating around out there, Heartbreaking Bravery is presenting the 5 to See series. Virtually all of the announced bands have been listened to (provided their music was available to listen to online) and things as trivial as genre preference were thrown out the window in order to accommodate as wide of an audience as possible. While the selections for features do still boil down to subjective taste, it’s a broader field than would usual be featured here and, as such, it should be a little easier to take something away from it. All that said, let’s get onto the picks for this series’ fourth installment.
1. Guerilla Toss
What to Know: It shouldn’t come as too much of a surprise that Guerilla Toss are most likely the most insane band at NXNE this year. They’re usually the most insane band on any given bill that they’re on and that alone should make them worth seeing. Putting them over the top is the fact that they’re one of the fiercest art-punk bands currently going and are quickly gaining themselves an enviable reputation based on word-of-mouth from their live shows alone. All of that should make them very hard to miss.
What to Watch:
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2. Maica Mia
What to Know: There are certain artists who have one trait that immediately sticks out. For some it’s their instrumental prowess, for others it’s composition, for Maica Mia it’s a voice, Maica Armata’s, to be precise- and what a voice it is. There hasn’t been much in the way of music in this realm, operating at this level since Cat Power’s You Are Free, which was a record worth holding onto for eternity. Maica Mia’s music’s as haunted as it is haunting, acting as an open invitation before pulling listeners in under its subtly menacing spell. Something genuinely special’s happening here and it’d take a fool to miss it.
What to Watch:
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3. Low
What to Know: Are Low considered an institution yet? If not, they should be. Often hailed as the act that pioneered (and subsequently perfected) slowcore, the band’s been active for over two decades and have a handful of classics to their name. There isn’t much to be said about them that hasn’t already been said in tones as hushed and sacred as the bands music feels, so just watch the attached video as a pleasant reminder of what this band’s capable of.
What to Watch:
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4. Bailiff
What to Know: One of the only Chicago bands making the trek over to NXNE, Bailiff will make sure that city’s represented well. Offering up a blend of left-field pop and cinematic crescendos that are often downright vicious, their set will be a highlight for anyone lucky enough to catch them. For further proof of this, watch the video below. If the last half doesn’t manage to convince anyone that watches it to make sure they’re keeping an eye on their set time(s), then nothing will.
What to Watch:
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5. Typhoon
What to Know: Why Typhoon aren’t one of the biggest names in music right now remains a strange mystery. They’ve perfected an incredibly intelligent blend of several styles that are currently at the forefront of popular taste, write genuinely great songs, and are an extraordinary live act. Yet, for whatever reason, they’re still at “best-kept-secret” status. One look at the provided video will likely dissuade anyone from making the mistake of overlooking them.
As promised, here’s the second part of today’s Watch This double-headed. It’s decidedly more minimal than the last installment in terms of performance content (two of the videos featured here are solo performances) but the featured videos are just as impressive. Ranging from yet another video from Chart Attack’s coverage of the Sonic Boom Records jaw-dropping lineup for Record Store Day 2014 to another Exploding in Sound BreakThruRadio takeover feature, it’s one of the broader installments this series has ever offered up. It’s a great way to showcase some of the best bands from the DIY circuit and all of it’s just begging to be viewed. So, stay reclined, erase the last semblances of that hangover, and make sure to Watch This.
1. Laura Stevenson – The Hole (Radio K)
It’s hard to pinpoint what exactly makes Laura Stevenson so magnetic- it could just be raw talent but it seems to go beyond even that to something more transcendental. The singer/songwriter found a home on New Jersey’s Don Giovanni, a label full of some of the fiercest basement punk bands currently going, while leaning closer to folk than anything else. Impossibly, it managed to be a fit that felt more naturalistic than not and their collaborations have resulted in a handful of incredible releases (the most recent of which, Wheel, was an easy 2013 highlight). Here, she sits down for a stunning rendition of “The Hole”. It’s a mesmerizing performance from a singular talent that’s worth bootlegging for inclusions on a million different homemade mixtapes.
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2. Luke Lalonde – Needle (Chart Attack)
This is the third performance from Toronto’s Sonic Boom Records to be featured over the past two installments of this series. It’s also, arguably, the most arresting. Born Ruffians have always been one of the more intriguing powerpop acts making music and to hear them stripped down to their barest form is surprisingly rewarding. Great songwriting’s always worth listening to.
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3. Mutual Benefit – Golden Wake (Allston Pudding)
Love’s Crushing Diamond was a record that almost felt sacred while it wove itself in and out of dreamlike states. It was one of 2013’s most riveting listens, constantly coming off like the most reassuring hug. It was impossibly fierce in its gentleness, delicately assembled and expertly executed, it established Jordan Lee as an undeniable talent and ensured that just about everyone who should be paying attention to his project was doing just that. Allston Pudding was on hand to capture this video from Mutual Benfit’s first-ever sold out show and the results are entrancing.
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4. Krill (BreakThruRadioTV)
There’s just something about Exploding in Sound’s roster that makes throwing caution to the wind feel appropriate. This is the second video to earn a Watch This feature from the label’s BreakThruRadio takeover. Like Kal Marks before them, Krill took this spot by force through a series of incredible featured performances. Serious Business being Serious Business, there are also a few revealing interview moments intercut with a few separate performance clips. It’s all great fun and worth paying attention to. Oh, and Krill, Krill, Krill Forever.
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5. Radioactivity – Locked in My Head (Razorcake)
It’s been months since a video from Razorcake earned itself a spot in this series, which is a shame because of all the places that regularly wind up in one of these five slots, they’re likely the one that matches the DIY ethos this place celebrates most closely. That reasoning paired with a performance from Radioactivity was more than enough to land this a spot on the list. This is what this place is all about. Watch This and then go spin Radioactivity for the 800th time. It’s impossible to resist.
Technical difficulties have struck again, forcing another late entry into the Watch This series. While it’s sincerely doubtful anyone’s growing frustrated by the lack of the regular Sunday posts for this, the schedule should be resuming soon. This is partly in thanks to the astounding influx of great material that’s been happening lately. There were enough videos to have been released in the past week and a half to warrant a double-header of Watch This, which means that Vol. 25 will be coming soon after this goes live. This installment’s fairly heavy on bands that this place has a well-documented love for. From two of the bands to make the very first 5 to See at NXNE to the very first band to ever be covered here, it feels a little bit like a family affair. It’d be next to impossible to ask for better company. So, as always, sit back, eat a pizza to drive away any lingering hangovers, relax, and Watch This.
1. Audacity – Counting the Days (Jam in the Van)
As mentioned above, Audacity were the very first band to ever be written about here at Heartbreaking Bravery. They haven’t lost a step since that feature and their songs have only grown catchier with time. More good news? Jam in the Van is back at Burgerama which means there’ll be a handful of videos that are likely going to wind up being featured here. There’s something about that combination that just works- and this is a perfect example of that.
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2. Greys – Guy Picciotto (Chart Attack)
At this point, over 100 videos have been covered in Watch This. None of them have featured a performance as fiery as the one Greys turned in at Toronto’s Sonic Boom Records of this song. There really isn’t a reason not to hit play on this one. Have at it.
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3. Ovlov – Moth Rock (Little Elephant)
Yes, an Ovlov song from these same sessions was just featured in the last Watch This– but “Moth Rock” was only uploaded a few days ago. It’s also impressive enough to earn itself a spot on this list. “Moth Rock” sees Ovlov operating at the absolute top of both their songwriting and live talents, making this must-watch (and must-listen) material.
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4. PS I Love You – Sentimental Dishes (Chart Attack)
Judging from this video and the Greys one occupying the two slot this week, it’s fair to be jealous of just about anyone that was lucky enough to spend their Record Store Day at Toronto’s Sonic Boom Records. For the rest of us, an eternal debt of gratitude is owed to Chart Attack for being on hand to capture some of it in extraordinarily high quality. This performance of “Sentimental Dishes” only reaffirms the fact that PS I Love You need to be mentioned way more often in the “best musical duos” conversation. This is some seriously inspired work; don’t let it go unnoticed.
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5. The Men – Going Down (Radio K)
The Men’s discography is remarkably consistent for how frequently the band changes their sound. There are already several arguing their most recent effort, Tomorrow’s Hits, is their high water mark. There are also several that argue it’s impossible to judge the band from the studio alone and that the songs need to be put into a live context for a more accurate test. Occasionally, those arguments crossover. It’d be difficult to find someone from either party who was disappointed with this- and it’s also a perfect way to bring the 24th installment of Watch This to a close. Enjoy!
[EDITOR’S NOTE: The images in the gallery are currently overlaying themselves. A fix is currently being worked on. Until then, the pictures can be viewed in static form over at flickr and the kaleidoscopic overlaps will remain in the gallery below.]
There are certain towns in Wisconsin that exist slightly off the beaten Madison-Milwaukee path but retain a sense of industry, rather than the sprawling scenery the state’s often noted for. Wausau is one of those towns. Farther North than most major show destinations, it’s managed to carve out its own little niche in terms of tour stops based on the strength of the venues. One of the city’s most noted non-house venues is the Polack Inn, a bar perfectly suited for DIY level acts.
Last Wednesday it was used to its fullest capabilities hosting We the Heathens and Midnight Reruns. The former acted as local support and played a lengthy well-received set which offered up an inviting blend of traditional Gaelic, folk-punk, and 90’s pop-punk. Each member of the Wausau power trio proved to have very capable control over their respective instruments (guitar, mandolin, and violin) and their audience. A late start saw much of the crowd dispersing after their set- which they’ll likely be kicking themselves for after learning what they missed out on.
Midnight Reruns, now comfortably positioned as one of Wisconin’s best acts (both in studio and live), played a typically incendiary set that featured no less than five new songs. It’s worth pointing out that after the last Midnight Reruns show in Stevens Point, a person close to the band noted that their new songs were “redefining the parameters of rock n’ roll”. That sentiment proved to be more true than expected, as the new songs ably merged distinguishing characteristics from the last handful of decades. A few of the structures were borderline progressive but overall, they gave off of a vibe more vintage 70’s (while remaining impossibly modern) than the 90’s powerpop that seemingly every review wastes no time administering. It’ll be interesting to see how the new material is met once it’s officially released, to say the least.
After a blitz through all that material (which made time to include several songs from their self-titled debut, which should be considered a state classic, and “Too Tall” from their Central Time EP), they packed up. Or, rather, they began to pack up until a friend of the band requested one last song: “Basement Guy”. No one could blame her for the request; any time there’s the potential for that song to be heard, that opportunity’s worth seizing. Her request was graciously obliged (under the warm, well-intentioned reasoning of “Guys, it’s Claire [requesting the song], come on.”) and the performance that followed can be seen below. It’s the first video to be put up under the now-officially-rebranded Heartbreaking Bravery video section and it’s impossible to imagine anything being better for a first entry.
Scan through the photographs and watch the video (select 1080p for best quality) below.
The 5 to See series continues from where it left off since Vol. 1. Now that the cases to see METZ, Swearin’, PS I Love You, Greys, and Perfect Pussy have been made, it’s time to lean in to Volume 2. A brief description of the featured band will be provided and accompanied by a video. All of this will lead up to the festival itself, which will be celebrating its 20th anniversary in style. Keep tabs on all of this and make the necessary adjustments when faced with schedule conflicts. Now that the exposition’s out of the way, let’s get to the bands.
1. Mac DeMarco
What to Know: Mac DeMarco’s Salad Daysis his best work to date and his live shows continuing to earn raves. He’s a living archetype: the slacker sleazeball personified. It’s part of what makes him and his music so effortlessly endearing. Take the normal manic pace of a festival into account and DeMarco’s set may easily be the most enjoyable bit of escapism that NXNE has to offer.
What to Watch:
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2. Pet Sun
What to Know: At this point, there isn’t much to know about Pet Sun other than that the Hamilton-based band has released an incredibly promising demo and that decent live footage of the band is hard to come by. That said, as lo-fi as recent clips of the band have been, they’ve indicated that the band’s capitalizing on their early promise- possibly exceeding it- and that it’s pretty clear they put on one hell of a live show.
What to Watch:
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3. Speedy Ortiz
What to Know: Whether they liked it or not, the band was positioned at the forefront of a 90’s revival on the backs of 2013’s incredible Major Arcana. Since then, they’ve been anything but quiet, capitalizing on opportunities to create new music and demonstrate a knack for trustworthy politics. Oh, it also helps that somewhere along the way they became a tenacious live band. Expect their set to be as much of a force as they’ve proven themselves to be.
What to Watch:
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4. Beliefs
What to Know: Beliefs, like Vol. 1 features METZ, will have the advantage of playing to a hometown crowd. Coincidentally, the band also put out an incendiary split 7″ with Greys (another Vol. 1 feature). Their sound lands between the most industry-conscious no-wave of the 80’s and the most incandescent shoegaze of the 90’s. Put all of that together and it’s very clear things are going their way- which always makes for good sets. Don’t miss theirs.
What to Watch:
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5. Swans
What to Know: What hasn’t been said already? There’s a very real possibility that Swans are the darkest and most nightmarish band going right now. Micahel Gira & co. have been mining utterly intense levels of dread for so long that it’s difficult to imagine any one of their members exposed to sunlight. Their past two records, The Seer and To Be Kind, may just be their two finest. Nothing at NXNE will come to being even remotely close to this ominous (has anyone ever created music this terrifyingly apocalyptic before?)- and it’s very possible that nothing will come close to being this oddly beautiful as well. Swans’ music forces the listener into self-examinations, self-actualization, and total transcendence. Make sure to be wherever they are when they play. This is just about guaranteed to be the most bruising, massive set of the entire festival.
On Friday Night, the High Noon Saloon played host to Fire Retarded, Protomartyr, and Cloud Nothings for one hell of a show. Fire Retarded were as spastic as anyone could ask for, flexing some serious punk muscle, while Protomartyr found their footing in smoldering intensity. Cloud Nothings more than proved they’d earned their headlining slot; their set played out like a constant highlight reel. These thoughts will be expanded more later elsewhere- but for now, take a look at the first set of official Heartbreaking Bravery photography (and expect a lot more of this to be featured on the site in the upcoming months). Enjoy.
Well, it’s already been too long since the last one of these- the most personal installment of the series to ever have run– went live. This week’s all about making up for lost time which is why between this posting and Sunday, there will be three Watch This pieces posted. It’s been nearly a month since new material was posted so this volume will be dedicated to covering that space. There were more than a few videos to choose from due to the delay but the five below, whether they be a full set, short documentary, or just a single song, were five of the videos that most closely adhere to the spirit of this place. So kick off the new week in style, crank up the volume, and Watch This.
1. Tacocat (Full KEXP Session)
Tacocat’s recent self-titled record, NVM. is already shaping up to be one of the definitive 2014 summer records, filled to the brim with sunshine-inflected basement pop. In this recent KEXP session, the band plays four songs and enthusiastically responds to a fair few interview sections in an incredibly winning middle segment. All of the songs are played loose and with a sense of purpose. Never anything less than a delight, this round of songs for KEXP is just another notch in the band’s increasingly impressive belt.
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2. Speedy Ortiz – Silver Spring (Allston Pudding)
It didn’t take long for Speedy Ortiz to be thrown into the driver’s seat of the current 90’s revival crop. Major Arcana made it incredibly easy by distilling seemingly everything great from the alternative culture of that time period into something that was undeniably modern. This also allowed Sadie Dupuis a platform to tear down oppressive institutions and schools of thought, which is something that’s (dishearteningly) still sorely needed. Importantly, that also kept the band in the public eye and was likely one of the reasons for their continuously elevating success. Another reason? Their live show, which plays perfectly into their aesthetic- feeling over technicality had been lacking as of late, so praise be to Speedy Ortiz for trying their hand at restoring the balance. This version of “Silver Spring” should make just about anyone understand.
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3. Clap Your Hands Say Yeah – Blameless (KEXP)
Clap Your Hands Say Yeah have remained an anomaly by virtue of the band’s undeniably erratic trajectory. When they were introduced to the world at large, they were at the forefront of a newly-emphasized class of buzz bands that were supported by hype and high expectations. After their debut record won them a vastly expanded following, they disappeared for a while before returning with what many thought was a lackluster sophomore effort. Retreating again after that, the band went through same changes, Alec Ounsworth started making solo music, and seemed fated to fade into a distant memory or relative obscurity. Now, Ounsworth is back, playing songs out solo under the Clap Your Hands Say Yeah moniker- and if this utterly gorgeous performance of new song “Blameless” is any indication, it looks like Clap Your Hands Say Yeah just might be coming up a whole lot more in conversation again.
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4. Pookie & the Poodlez (Jam in the Van)
Another year, another Burgerama, and another of what will hopefully be one of many more Jam in the Vans from that festival. Pookie & the Poodlez (which is essentially just the Nobunny touring band switched around) rip through three gleefully obnoxious basement pop rippers. It’s all in the spirit of fun and fits perfectly into the Burger aesthetic, serving up a near-definitive representation of what kind of weirdness the label’s all about. Insanely catchy and absolutely carefree, it’s enough to spark hope for many more Burgerama Jam in the Van’s.
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5. RIP 285 Kent (Pitchfork)
Definitely coming in as an outlier for the Watch This series, this Pitchfork documentary’s earned itself an inclusion on the basis of necessity; this is one of the most important short-form discourses on what a DIY space can mean to a community and what it can become. It doesn’t matter if it’s in a major area or the smallest town, there are valid points littered throughout RIP 285 Kent. Yes, there may be some esoteric language in terms of location and development pace but the underlying messages are ones worth noting. Additionally, it’s a close examination of a DIY space that was important to a scene that was important. Everyone from Deafheaven to Lodro to DIIV to Fucked Up get featured via live clips and a great deal of insight is offered from everyone who’s directly involved/responsible (like Ric Leichtung) and anyone who was tangentially involved (like Dan Deacon). It’s also a reminder to celebrate the things worth celebrating while they’re around. It’s worth several watches and bookmarking for future reference. All of those reasons are why it’s earned its spot as the closer for this 21st installment of Watch This.
In one of the more recent pieces to run on here, I bid adieu to a camera that’s served me well over the years. There were vague allusions to various sets that I’ve been lucky enough to catch with that camera scattered throughout the piece- and while this may be dangerously close to tipping into the self-serving spectrum I do my best to avoid on here (and the fact that the audio quality is far from the best), it only seemed appropriate to showcase a few of the more memorable captures over the years. To that end, this installment of Watch This will likely wind up as the one the more unique entries in the series. One last look at the past before pushing towards what’s ahead.
It’s never to fulfill a sense of pride, it’s never for bragging rights, it’s always, in each and every instance, to support an artist that I love or that deserves as much support as they can possibly get. Established or not, this is my way of giving thanks and hopefully extending their music out to other places that may never have heard them otherwise. This holds true for my writing on Heartbreaking Bravery as well. One of the most important things anyone can do is support the art they believe in and this place will always live by that law. So, watch this or don’t, but it’ll always be here as both a reminder of some very personal memories and a showcase for some bands who deserved more attention than they ever received. Sit back, support local music, support local music, support local music, support local music (SERIOUSLY, SUPPORT LOCAL MUSIC), and Watch This.
1. Tenement – Morning Mouth (Live at the Afterdark)
This video will be the only one that actually predates the Canon PowerShot I’d been using to shoot these videos over the past several years (this set was shot on a low-end handheld Sony camcorder), it’s included because it serves as a beginning for a myriad of things: my introduction to Tenement (who would subsequently open up an entire world of music to me through their kindness), the beginnings of when I became serious about film, and the start of when I became serious about booking shows. Their five-song set, to a crowd of people they invited up onto a small stage to make them feel more at home, blew my mind and has stuck with me for approximately six years now. My opinion on this band hasn’t changed as I’ve filmed set after set after set, year in and year out- they’re one of the best, if not the absolute best, band currently going. I’ll forever be grateful to them for a number of reasons and delivering this set will always be one of them.
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2. Good Grief – Holy Smokes! (Live in Stevens Point, WI) There isn’t always a lot of options for live music in the middle of nowhere but at the height of Good Grief’s run, there were a few spells where there seemed to be an incredible show happening every other week. I attended every single one I possibly could, not just because of an undying love for live music and the DIY community but because Good Grief had tapped into something genuinely special during their time as a band. It was evidenced by the mass basement singalongs, by Mutts coming all the way from Chicago to play an unforgettable cover of a song from their final record, by the people who had little to no connection with the band who showed up at nearly every show- right up through their final marathon set at K Bueno (this is a band that will likely always have the distinction of being the only one I ever see tearing things up inside of a Shopko that was giving away free hot dogs, chips, and soda)- with a smile on their face and a beer in their hands, and by the fact that more times than not, the first time I would hear a song played for the first time, I would get chills (“Lab Rats” is still one of the most incredible pieces of music I’ve ever heard and a lock as an entry for my 50 Favorite Songs of All Time list). “Holy Smokes!” was never officially recorded, as far as I know this is the only known recording of it, which is why it takes this spot on the list- a look at some incredible music, and some incredible musicians, that too much of the world missed out on.
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3. Midnight Reruns – Too Tall (Live at Frank’s Power Plant)
Like Tenement before them, this was the first time I saw Midnight Reruns (coincidentally, if anyone asks me who I think the best bands in the state are, those are usually the first two names out of my mouth) and even just a few minutes into the first song, it was apparent it’d be far from the last. They tore that place to shreds and threw out a fiery Wreckless Eric cover in the middle of an all-out blitz of a set that showcased Graham Hunt’s beyond-his-years songwriting ability and the band’s undeniable musicianship. They’ve (somehow) only steadily improved since then and have built an impressive expanding fanbase including members of The Replacements, the Milwaukee Journal Sentinel, ThirdCoastDigest, BrooklynVegan, and Milwaukee Record, who just ranked their debut s/t (still less than half a year old) as the 16th best record to come out of Milwaukee since 2010. Word on the street is the material they’re currently working on blows even that out of the water. Keep both eyes out and both ears open for this one.
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4. Sleeping in the Aviary – So Lonely (Live in Stevens Point, WI) Apart from Good Grief, Used Kids, The Goodnight Loving, and Hot New Mexicans (especially The Goodnight Loving and Hot New Mexicans), there are few bands that can come even remotely close to Sleeping in the Aviary as far as the “bands I wish would reunite” conversation goes. The only places I ever saw Sleeping in the Aviary play, curiously enough considering their level of name recognition, were basements (with one surprisinglytouchingexception being the vinyl LP release party for Expensive Vomit In A Cheap Hotel at the High Noon Saloon, thrown five years after the records initial release) . In one way or another, I was a part of each and every one of those shows and they wound up being a few of the most memorable nights of my life thanks to both the people around me and Sleeping in the Aviary themselves. Ever the manic pranksters, they would usually come armed with cardboard cutouts, bubble machines, various props, or adult-themed piñatas. They’d also always play with a reckless abandon and unparalleled fierceness while still clinging onto a carefree nature and clearly having the time of their lives doing it. Kyle Sobczak was a late addition to the group but provided them with a few of their most memorable songs in their final stretch. “So Lonely” is one of them- and, as mentioned before, being in the middle of nowhere means that when a basement show happens with a band of Sleeping in the Aviary’s caliber comes to play, things tend to go off the rails pretty quickly. No one has seen the regular lead personality, Elliott Kozel, since he disappeared into that crowd… (entirely untrue as clearly evidenced in the video- but still, a great myth to try to start).
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5. Charley & the Cynics – St. Christopher (Live at the Crunchy Frog)
Writing an In Memoriam piece for Charlotte was one of the most difficult things I’ve ever done. I debated whether or not to include this as the fifth slot or keep it stored away due to its extremely personal nature but I realized that the few videos I did manage to capture of Charley & the Cynics during her time here had a profound effect on why I kept filming and knew it had to occupy this spot. After her untimely passing it was next to impossible to bring myself to watch the videos of her that I’d previously put up out of both respect and unfailing admiration. It’s not like I knew Charlotte all that well; I won’t pretend I did and I won’t glamorize her or try to turn her into some flawless saintly figure. I did know her well enough, though- well enough to consider her a friend and well enough to know that she was a generally positive person who always seemed to treat others with both care and affection, which is something I try to extend to everyone that gets coverage on this site. After enough time had passed, I could watch these videos without needing to spend a night drinking afterwards and I realized that they’re the crux of why I film to begin with: to celebrate the people and music I love while they’re around. Ever since the full extent of that realization hit me, these videos of Charlotte have factored into every time I’ve plugged in a camera charger, every time I’ve replaced an SD card, every time I’ve spent hours making sure an upload doesn’t crash, every time I’ve pointed a lens at a stage, she has been there as a reminder to capture the things that are important while you still can. That lesson is something I’ve carried with me every day and something that’s been a part of the majority of my decisions within music journalism. For that and for all the times I’ve been reminded of that, I’m thankful- and I keep filming.
There are very few records that have required as much patience as The Sleepwalkers’ just-released Lost My Mind in Stereo. That’s not to say it required a vast amount of dedication to appreciate; it just took a very long time to get released and was difficult not to share with just about everyone. Other than the USA Today premere of the extraordinary lead-off track “My Best Was Never Good Enough“, these songs have only existed in the world as a small handful of rough demos and live staples of Sleepwalkers’ sets. Now, the record’s finally out and the band’s granted this site the music video premiere for standout cut “Come Around”.
Lost My Mind in Stereo is a record full of songs that feel instantly classic, sharp blasts of music that are finely-tuned examples of both great songwriting and American culture. “Come Around” is one of the many examples where all of that is readily apparent. Incorporating everything from 60’s jangle to 90’s powerpop, there are no false notes. In the video, the band plays through the song in Oshkosh, WI venue Reptile Palace and intercuts footage of decidedly freewheeling shenanigans in the Fox Valley area, mostly involving food (Bron Sage’s Kyle Merckx also makes a few brief but memorable appearances). By the time “Come Around” fades into black and flashes a subliminal “WOOF”, it’s hard not to feel like a part of The Sleepwalkers’ world. It’s another instance of the band finding the exact pulse of a very particular timelessness and running with it. We’re all the better for it.
Watch “Come Around” below and make every day feel like the 4th of July.
There are times when I’ve broken one of Heartbreaking Bravery’s most defining tenets (no self-identifiers: the music is more important than the reviewer) in an effort to illuminate something. This will be one of those times for several reasons: 1) This post may mark the last time a point n’ shoot is used for content on Heartbreaking Bravery. 2) This is the first time, and certainly not the last time, a (new) self-shot full set will be appearing on this site. 3) Perfect Pussy have already qualified as exempt from this rule for reasons explained here (and then again here). 4) By posting this, I’m hoping to stabilize a bridge between a focus on music and a focus on film (look for more on that later). 5) It’s the only way I could think of delivering these points as honestly as possible. 6) I firmly believe in a support structure between DIY publications and fully intend on this being the first part of a collaboration piece.
With all of that out of the way, there’s only a few things left to say before the video(s) themselves: Yes, this is a severely blown out recording with some seriously damaged audio quality. Yes, there is an unexpected break that results in a twenty second delay between the monstrous second half of “Interference Fits”. Yes, there are times where the band goes completely out of frame. Yes, that was because I kept getting hit hard enough by the wildly enthusiastic crowd around me to be literally upended into the stage multiple times over (and, yes, I loved every second of it, bloodied up leg, beer-soaked jacket, bruised hips and all). Yes, this isn’t the greatest live presentation in the world- far from it, in fact- and yes, this is primarily being posted because it’s something I fiercely love (and has people that I love dearly in it). No, that doesn’t affect my judgment at all- these were all instances of friendships born out of love for their art and through mutual understanding/support. Yes, there will be a review of this entire show (along with more photographs)- but not on Heartbreaking Bravery (more to come on that later). Yes, I really am posting this right after the Minneapolis review– and yes, all of this can be seen in two parts below.
Heartbreaking Bravery 