Heartbreaking Bravery

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Tag: Lonely Parade

Two Weeks, 12 Songs

The last time these two week roundups rolled around, the pace of great songs had seemingly tripled the haul of great songs and records. These past two weeks have been even more fruitful, leading to a quadrupling rather than a tripling. The dozen songs selected below come from all over, though every single artist included has earned a mention on this site in the past. From legitimately legendary acts to incredibly promising projects, everything listed is, as always, worth serious consideration. Hit play and enjoy.

Vacation – Deflector Head

Every time Vacation releases something new, they top themselves. It’s an ascendant trajectory that hasn’t shown any signs of wear and has held true even while the lineup’s experienced some seismic shifts throughout the years. “Deflector Head” might be the band’s most tightly controlled and expertly crafted song to date, which is saying quite a bit considering their varied, impressive discography. A surging burst of basement punk that leans into the kind of pop sensibility that will undoubtedly have listeners reaching to hit repeat before the song even ends.

Lonely Parade – Not Nice

Following “Night Cruise”, one of 2018’s best songs, and continuing to build anticipation for their forthcoming record, Lonely Parade unveiled “Not Nice”. An intoxicating mixture of basement pop and post-punk, the trio continues to find unexpected ways to offer up exhilaration. There’s a conviction to the venomous refrain of “Not Nice” that lends it some emotive heft even while the music verges on a downtrodden kind of joy, effectively mirroring reality. It’s an incredibly impressive work from a band that’s ready and willing to blaze a path of their own.

Katie Ellen – Lighthouse

Following a memorable run fronting Chumped, Katie Ellen shifted focus to a solo project that’s been paying some massive dividends for the songwriter. “Lighthouse” continues to see Ellen excel in narratives that present vulnerability and empathy as strengths, fueling that conviction with subversive pop-punk. Thoughtful, calming, and galvanized, “Lighthouse” has a handful of nervous energy at its center but executes its ideals with exacting precision. A triumphant work.

Billy Moon – White Shoes/Dingus

A project that’s been consistently good finds a path to greatness through an incendiary dual release in Billy Moon’s “White Shoes/Dingus”, a double single that feeds off frustration and abandonment. The former is an all-out blitz that barely passes the 60-second mark while the latter’s preceded by a voicemail message that provides some very direct context. Both tracks stand as the best work of Billy Moon’s career thus far, suggesting that while a musical obsession might cause grievances for some, it could serve as a benefit to many, many others.

Whitney Ballen – Rainier

The second of two tracks to be released ahead of You’re A Shooting Star, I’m A Sinking Ship and Whitney Ballen‘s already carved out a spot as one of 2018’s most promising new artists. “Rainier” is one of the centerpieces of a genuinely mesmerizing records and displays the kind of tenacity and heart that supplies the record its considerable emotive heft. Emotionally volatile and unapologetic in its forays into darkness and yearning, “Rainier” is as challenging as it is moving, weaving together the kind of spell that’s hard to shake.

Black Belt Eagle Scout – Soft Stud

“Surprises in your mind, won’t you have your way?” is the opening question of Black Belt Eagle Scout‘s “Soft Stud”, which goes on to probe even more invasive questions and impulses. Driven by a steady, mid-tempo back beat and an even more steadfast insistence in both the narrative and the playing, “Soft Stud” conjurs up a magnetic pull reminiscent of early Cat Power. Unafraid to wrap itself in a light coat of grime, “Soft Stud” leans into the muck, offering up a peaceful acceptance with toxic longing. In embracing a harsh reality, Black Belt Eagle Scout also wind up with the finest work of their burgeoning career.

Devon Welsh – By the Daylight

Majical Cloudz were an unforgettable project that provided an avalanche of breathtaking moments. Devon Welsh, the band’s leader, played a large role in cultivating the band’s identity. The sparse intensity of Welsh’s old group has been tied over to the songwriter’s solo work. “By the Daylight”, Welsh’s most recent offering as a solo artist, is immediately gripping and works its way to the kind of emotional peaks that Majical Cloudz hit with regularity. Appropriately, “By the Daylight” feels more personal than Welsh’s erstwhile duo and suggests the kind of long, rich career most artists dream of attaining.

Goon – Enter Bethel Admissions

Over the past few years, Goon have established themselves as one of the most remarkably consistent artists currently making music. They’ve nearly perfected the art of the mid-tempo basement pop number and “Enter Bethel Admission” fits comfortably into that mold. Tender vocals, guitar tones that have just a touch of dirt, and moments of musical interplay that verge on euphoric terrain collide once more to provide an instantly winsome track that strengthens the band’s growing legacy.

Guided By Voices – You Own the Night

The amount of music Robert Pollard has managed to release in the window of time he’s been making music continues to legitimately verge on the impossible. Fortunately, Pollard’s long been the kind of songwriter who’s gifted enough to make throwaway tracks worthwhile. Even better, Pollard’s peaks as a songwriter are stratospheric and “You Own the Night” comes far closer to that category than to the stockpile of trivialities. A three and a half minute outpouring of thoughtful joy in Guided By Voices‘ characteristically shaggy presentation, “You Own the Night” is an unpredictable distillation of Pollard’s always-outsize ambitions.

Sharkmuffin – Your Stupid Life

In 80 seconds Sharkmuffin rattle off the most impressive track of their discography. Measured, filled to the brim with poise and feeling, and suffused with weaponized dynamics, Sharkmuffin make every single one of those 80 seconds not just count but land with maximum impact. “Your Stupid Life” is as sharp as anything the band’s released and the attitude that the track comes equipped with could be enough to make any potential detractors wither on sight. Compact and surprisingly powerful, “Your Stupid Life” is Sharkmuffin at their best.

Tomberlin – I’m Not Scared

A devastating meditation on identity and autonomy, Tomberlin‘s “I’m Not Scared” is both painful and heartening in equal measure. There are scars on display in a narrative that’s stripped to an unavoidable nakedness that forces the listener to grapple with the kind of context that demands these declarations. There’s a level of emotional battery ingrained into “I’m Not Scared” — which only features piano, vocals, and strings — that immediately aligns Tomberlin with acts like Elliott Smith and Julien Baker. As difficult as it is necessary, “I’m Not Scared” is one of the most captivating and painfully gorgeous songs that 2018’s produced to date.

Basement Revolver – Dancing

There are few bands that so transparently reach for the heights as Basement Revolver seems to strive for with each song and even fewer who can actually match or claim to have achieved anything near their level of success in that pursuit. “Dancing”, the band’s latest, is characteristically huge, a behemoth of a track that leans into its dramatic sensibilities with an unabashed vigor. There’s a cacophony of feedback that swells beneath the surface of “Dancing”, propelling it even further upwards. Arresting and elegant, “Dancing” is the kind of track that makes listeners take notice.

The Best Music Videos of June’s First Half

The first half of June came equipped with a lot of outstanding material but the strength of its best music videos were especially notable. There’s a strong chance that IDLES land themselves a repeat spot in the year-end best-of rundown, following their Music Video of the Year turn in 2017. There’s also a reasonable chance that at least one other clip from this list joins them in those rankings. As of now, that’s all still speculation but it’s worth noting for the sheer strength of impact. To find out a little more, scroll down, keep your eyes peeled, and keep your ears open.

IDLES – Danny Nedelko

Last year’s “Mother” was an absolute masterwork of a music video, going a ways in helping IDLES launch a burgeoning career. Easily one of the best protest songs of this current decade, “Mother” now has an equal in “Danny Nedelko.” As has been the case with virtually every IDLES clip, this one surges with purpose as its titular character takes a central role, dancing, smiling, and flashing an OK hand symbol that was co-opted by white supremacists in an act of joyful resistance. It’s remarkable, pointed, and adds an additional level of potency to an already formidable discography.

Lonely Parade – Night Cruise

One of the most recent additions to Buzz Record‘s already stacked roster, Lonely Parade have made no bones about establishing their stake in that field. Their most recent showing came by way of the music video for the unwieldy “Night Cruise.” Stylish, vivid, and executed with unnerving precision, “Night Cruise” comes off like a warning shot. A series of odd angles, clever pans, and sharp editing play into a digital film palette that make the band’s sense of identity a focal point. Smart, measured, and playful, “Night Cruise” is a promising look into Lonely Parade’s future.

Shy Boys – Take the Doggie

There are a few constant truths in our lives. Shy Boys took one of those truths and embraced it wholeheartedly, gifting us a playful, dog-driven music video that’s as open-hearted as it is endearing. Throw in a twee-leaning powerpop song, some lyrics running across the bottom of the screen, and a whole collection of clips cut together into a comprehensive whole and “Take the Doggie” reveals itself to be as winsome as its opening seconds suggest.

Deaf Wish – FFS

The second black-and-white clip on this list, Deaf Wish‘s “FFS” uses the formula as a means to strengthen its directness. Jensen Tjhung and Daniel Twomey take the directorial reigns and lean into the framing, creating stark imagery that pays tribute to some iconic shots from the rock photography canon. The editing heightens “FFS”, creating sync’d segments that play into the clip’s sense of augmented reality. Engaging and expertly crafted, “FFS” is a reminder of how classical styling can benefit from modern advancements.

Tomberlin – Self-Help

Saddle Creek‘s latest addition, Tomberlin, gave a mesmerizing introduction-at-large with the hushed, haunted “Self-Help”. Directed by Laura-Lynn Petrick, the clip presents Tomberlin awash in a sea of sea creatures, suggesting a parallel to the narrative of “Self-Help”, searching for a place in a space that’s built for you but still feels removed. It’s that distance that “Self-Help” is imbued with that defines both the song and the clip, conjuring an eerie parable that’s hard to shake on either end. Thoughtfully crafted and tenderly delivered, it’s a captivating glance at an artist worthy of knowing.

Half Waif – Back In Brooklyn (Stream, Live Video)

After what seemed like an eternity, Heartbreaking Bravery is returning to regular daily (or near-daily) coverage and this run begins with a recap of the excellent tracks, clips, and full streams that found release over the past two days. On the songs front there were notable tracks from Porlolo, WAND, Lonely Parade, Emma Russack & Lachlan Denton, Bent Denim, Peach Kelli Pop, Numb.er, Quarterbacks, Omni, Phalcons, Llovers, Wax Idols, Eureka California, Tickle Torture, Jack Ladder & the Dreamlanders, Decisions, Mary Lattimore, and Terra Pines.

On the visual front, there were impressive clips that came from Rolling Blackouts Coastal Fever, A Place To Bury Strangers, CAICOS, stuart A. staples, IAN SWEET, Mike Donovan, and Superorganism. Dark Times, War On Women, Changeling, Leila Abdul-Rauf, Andrew Younker, and Paisley Fields rounded things out with some exceptional full streams. All of those are worthy of investments but none hit quite as hard as the third and final single from Half Waif’s forthcoming Lavender, “Back In Brooklyn”.

Being the first song to be featured after a long interim with sporadic updates, it might seem unwise to break form but the song’s laced with so much personal meaning that I’m breaking one of the cardinal rules of this site and switching to a first person narrative. It’s one of the only ways that I can think of to suit the song’s central premise and its near-confrontational intimacy, which was written about eloquently over at The Talkhouse by the project’s mastermind, Nandi Rose Plunkett.

Plunkett and I shared a frighteningly similar experience of our stints living in Brooklyn, managing to take the city for all its worth, simultaneously, as so many of its expats have done and will continue to do. There’s a sense that its world is a separate one, operating at a more intense velocity than the cities that swirl around its gravitational pull. It’s jarring to come into but it’s easy to accept, instinctively knowing that the best way to navigate its chaos is to completely submit yourself to its constant whims, no matter how painful or uplifting.

Coming to know the city as a home takes some time but once you do, it becomes a part of you that’s impossible to shake. It’s harshness and demand stoking various levels of anxiety and fear, while its open embrace of its residents can provide a warmth that’s worthy of moments of pining. All of this, the endless duality and dichotomies that the city births in anyone that manages to claim it as a temporary home, is painfully evident in “Back In Brooklyn”, which nearly wrecked me the first few times I was fortunate enough to watch Half Waif play it live (one of those instances is captured below).

It’s the most plaintive moment on Lavender — easily one of the best records I’ve heard this year — and it’s the most arresting. Plunkett’s narration across the record’s one of the most unsparingly honest perspectives I’ve come across in recent memory, looking at everything through the lens of someone lost in their own thoughts while the road flies by their van windoes. Sideways glances and subtle allusions are shelved in favor of an intense directness that can occasionally approach the overwhelming, it’s nakedness on full display. Longing and love are its most prominent intersections but they’re anchored by a rare understanding, which can make the material — as is the case with “Back In Brooklyn” — frighteningly real.

During its three-plus minute run time, on every pass I’ve given the song, it’s transported me back to the city, reminded me of all of the things, places, and people I loved, all of the moments with them I cherished, and all of the moments where I felt lost or afraid. It’s an immense work that’s delivered with a well-worn affection and laced with the knowledge that once you leave, its shape shifts and changes, rendering some of the things you held onto unrecognizable. Honest, unflinching, empathetic, and deeply moving, “Back In Brooklyn” isn’t just breathtaking, it’s a small miracle in a minor key.

Listen to “Back In Brooklyn” (and watch a recent live performance of the song) below and pre-order Lavender from CASCINE here.