Heartbreaking Bravery

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Tag: Lonely Parade

’18 of 18: The Best Music Videos of the Year

Just under a full week into 2019 doesn’t seem like much but it affords time to go over what all of 2018 has to offer, right up until midnight on December 31. It’s a method that also provides room for close examination of the year’s finest releases in each major category (songs, music videos, and albums). While it’s literally impossible for any one person to hear or see every single release in those formats, a focus should be given to the best of what’s been experienced. Thousands of music videos made their way through the Heartbreaking Bravery channels, these 18 selections found ways to stand out from the pack.

Anna Burch – With You Every Day

Ever since the music videos for Anna Burch‘s gorgeous Quit The Curse started rolling in, there was a unified visual aesthetic. It’s a point that was strengthened with the release of “With You Every Day”, which finds Burch eschewing some of the sunnier palette tones to lean further into a ’90s art world sensibility. More than that, “With You Every Day” wisely refocuses from underlining Burch’s carefree tendencies to zero in on the sheer joy that’s evident in the emergent songwriter’s live performances. Tied together, those elements make for a mesmeric video that comes off as unabashedly honest, leading to another quiet triumph for Burch.

Car Seat Headrest – Nervous Young Inhumans 

It’s next to impossible to talk about Car Seat Headrest‘s “Nervous Young Inhumans” without mentioning that the song’s chorus is a fucking monster. A reworked full band version of one of Will Toledo’s most celebrated solo releases, the video was used — and used extremely effectively — to tease the total overhaul of Twin Fantasy. Visually striking and teeming with meaning, the side-by-side widescreen clip lays out everything you’d expect from one of the decade’s more discussed breakout acts: tongue-in-cheek humor, wry witticisms, a clear level of self-awareness, and enough artistry to dispel any notions of being effete.  While some might find the act cloying, the self-directed “Nervous Young Inhumans” video goes all in on just about every one of the band’s aspects and winds up as one of the band’s most definitive individual release to date.

Phoebe Bridgers – Scott Street

Phoebe BridgersStranger In the Alps proved to have quite a bit of staying power through 2018, with the record spawning a few widely-circulated music videos well afters its initial release. Far and away the most moving of that selection was the restrained, lovely clip for “Scott Street”. The premise of the clip’s simple enough: several people dress up as Phoebe Bridgers and enjoy a day out together, riding mechanical bulls, taking to a trampoline park, and taking a bus to some unknown destination. All of it’s lensed tenderly, letting a palpable sense of affection become the clip’s defining element. When Bridgers herself finally makes an appearance in the clip’s final stretch, there’s a surreal emotive heft to the gesture that propels “Scott Street” from being great to being unforgettable.

Sean Henry – The Ants

The Ants” stood out on Sean Henry‘s latest release, Fink, and was rightfully tapped for a music video. The visual treatment the song’s given plays into the song’s enigmatic nature, positioning Henry front and center, following the songwriter’s trip through NYC in costume store vampire teeth. Nervous tension and general mischievousness collide in an unexpected way, rendering the core narrative of “The Ants” oddly gripping. Aided by some stunning cinematography, “The Ants” becomes a fascinating journey on multiple levels that pull the viewer deeper into a world that’s more concerned with presenting questions than providing answers outright.

Casper Skulls – Colour of the Outside

From a beguiling, extended introductory sequence, “Colour of the Outside” takes great pains in comprehensively immersing its viewers into the world it places Casper Skulls. Softly lit and bathed in ghostly blue hues, the first half of “Colour of the Outside” provides a tug-and-pull between competing sense: familiar comfort and an unsettling tension that grows in small increments. Eventually, that dichotomy detonates as a huge portion of the set falls away and the band’s revealed to be playing in a basement. The light increases, objects get smashed, and the spell manages to find a route to amplification, lingering as the song dissipates amidst a haze of feedback. A deceptively clever clip, “Colour of the Outside” also manages to be strangely powerful.

Haley Heynderickx – No Face

Haley Heynderickx’s “No Face” is one of a handful of clips on this list that took a simple premise and executed it with panache by Evan James Atwood, leading to surprisingly memorable results. A stop-motion video that puts Heynderickx in full silhouette, “No Face” uses static framing to perfection. Consisting of no more than Heynderickx miming along to the song and another pair of hands for some additional meaning, “No Face” is a testament to what anyone can achieve with a shoestring budget. A million frames can make up an incredible picture, even when the images barely differ. An inspired — and inspiring — work from a deserving breakout artist.

Swearin’ – Grow Into A Ghost

One of the most heartening things about a year that didn’t always have a lot of those on hand was the return of basement pop legends Swearin’. Select orders of their first record after reuniting came with a version of 3D glasses that’d been relegated to a curious footnotes in the annals of film history. A fun gimmick on the surface was provided some extra weight with a pair of videos with “Grow Into A Ghost” becoming a genuine standout. Embracing a ’50s aesthetic and the stoic sensibilities of the era, Swearin’ have all sorts of fun with the animation integrated into a modernized strain of an updated technology. “Grow Into A Ghost” was the perfect reminder of what we’ve been missing.

Lucero – Long Way Back Home

Jeff Nichols is one of the most talented filmmakers working today. His collaborations with Michael Shannon have yielded countless accolades and an overwhelming amount of acclaim. Nichols’ brother, Ben, also happens to front Lucero, who have provided a few songs to those films. The brothers Nichols and Shannon team up once again for this short film set to Lucero’s “Long Way Back Home”, teeming with the quietly desperate rural lyricism that’s flickered away in the core of the trio’s work for years. A few more notable actors make appearances in a narrative that keeps the viewer in a vice-like grip up until the ambiguous final moments. While there’s no clear resolution, “Long Way Back Home” is a ride worth taking.

Mitski – Geyser

While the Christopher Good-directed clip for “Nobody” makes appearance after appearance — and deservedly so — on The Best Music Videos of 2018 lists, it’s also worth taking a look at the clip that preceded that one, “Geyser”. A gorgeous tracking shot on a desolate beach follows Mitski as the songwriter mimes the words to “Geyser” before abandoning that conceit entirely, fleeing the camera and collapsing onto the shore, writhing around in a place between catharsis and desperation, pointing to the sheer nakedness of the work on Be The Cowboy. A huge moment for both Mitski and filmmaker Zia Anger.

Iceage – The Day The Music Dies

Iceage and Graeme Flegenheimer teamed up for “The Day The Music Dies” video, which finds the post-punk act tapping into a strain of Southern Gothic visuals once again, producing a series of visuals that immediately register as formally classic, bringing to mind cinematographer Robert Elswit’s work on There Will Be Blood. “The Day The Music Dies” is flooded with iconic imagery but for all its formality, there’s a very evident sense of playfulness coursing through the clip. Tongue-subtly-in-cheek — check out those borderline nonsensical breaks for the car commercial shots — and fiery as hell, the clip’s a very strong example of how abandoning reservations can significantly elevate the material.

Noname – Blaxploitation

A cutting, socially conscious work from Noname, “Blaxploitation” leans hard into metaphor and film history. Taking its cues from the monster film genre, “Blaxploitation” depicts a young black child navigating a model set. Framed as a towering monster, the subject explores the small neighborhood, clearly innocent despite striking an imposing figure, relative to the setting. Tragic for all of the typical, endlessly frustrating reasons, Alex Lill’s video for “Blaxploitation” is every bit as thoughtful as the record on which it resides. Hypnotic and incredibly pointed, “Blaxploitation” is very clearly not just among the finest music videos but the visual format as a whole.

Lonely Parade – Night Cruise

Night Cruise” was the first of Lonely Parade‘s releases to get a huge push and that attention couldn’t have come at a better time. Released in advance of one of the year’s best records, the clip ably demonstrated the band’s identity. Soft strobes of neon hues, softer saturation levels, and some clever one shots cut to the core of the band’s confrontational sensibilities. “Night Cruise” showed that Lonely Parade know exactly who they were and exactly what they were about while still managing to be visually hypnotic. Easily one of the year’s best hangout clips, “Night Cruise” marked the arrival of a band whose career promises to be worth following.

La Dispute – Rose Quartz / Fulton Street I

La Dispute made a return in the year’s final month, unveiling the startlingly intense animated clip for “Rose Quartz / Fulton Street I“. A fever dream narrative plays out in the clip, which centers around a car colliding with a deer on the road. Psychedelic imagery swirls around this event, which plays out more than once, lending additional meaning to the event. There’s an impact, things are altered, objects are wrecked, but there’s a beauty that undercuts the despair, reminding the viewer of life’s fragility as much as its inherent tenderness. “Rose Quartz / Fulton Street I” is an astonishing work that may just be the band’s finest release to date.

Mozes and The Firstborn – Hello

For all the serious subject matter that tends to dominate these types of lists, there are moments of lightness to be found and celebrated. For instance: Mozes and the Firstborn‘s humorous, lighthearted clip for “Hello“. It’s an exceptionally simple premise that’s executed to perfection and imbued with genuine joy. One tracking shot keeps guitarist/vocalist Melle Dielesen front and center, surrounded by a marathon that was taking place in real time. Layers of clothing are shed, several with song-specific message scrawled or printed on them, a cigarette gets smoked, and the song is mimed while runners react to Dielesen’s tongue-in-cheek antics. Easily 2018’s most outright fun video.

Dusk – Leaf

Finn Bjornerud has long been Tenement’s go-to music video director and continues to work with the members’ other projects. As good as some of the Tenement clips have been, Bjornerud hits a career high by some margin with the breathtaking video for Dusk‘s “Leaf“, which remains one of the best songs of the present decade. The song itself lends an additional potency to Bjornerud’s signature camera movements but also forces the camera to stay relatively still, fixating on the mundane details of winter life in the upper Midwest: the boots in the snow, clothing layers being shed, a flock of geese taking off from a snow-capped field. Tethering in a quiet, loving relationship between two people finding ways to celebrate their continued survival gives “Leaf” another empathetic layer that’s strong enough to ensure its rightful place on this list.

Fog Lake – Push

Some of 2018’s most brilliant editing work in a music video came courtesy of Noah Kentis’ twisting, multilayered visual for Fog Lake‘s “Push“. The first of a series of intentionally blurred smash cuts hits at just after the minute mark and every time is startling and powerful enough in its execution to warrant chills. No matter how many times its replayed or used, there’s a singular perfection to the framing and implementation that’s enough to knock a viewer out. As the Charlie Kaufman-esque narrative of “Push” unfurls, there’s a deepening sense of mystery inextricably tied to the ambiguity that characterizes the clip’s final moments. A masterclass in composition and editing, “Push” also stands tall as one of the most mesmerizing videos to have come out over the past handful of years.

IDLES – Danny Nedelko

For some reason or another, white supremacists started using the okay sign as a “covert” way of communicating their reprehensible ideology. Since they’re terrible at everything, the general public discovered what they were doing right around the time it started happening. Enter: IDLES, the band who made 2017’s best music video and missed that title this year by a hair. “Danny Nedelko” a standout track from Joy As An Act of Resistance was a song explicitly about their friend, an immigrant. The black-and-white video follows Nedelko through a series of vignettes, meeting up with other immigrants while dancing, laughing, and flashing the okay symbol with a sheepish grin. It’s a pointed missive of reclamation that’s framed with a welcome level of affection for its subjects. Joy As An Act of Resistance indeed.

MUSIC VIDEO OF THE YEAR

Hop Along – How Simple

Every publication told its readers the same thing at the end of 2018, which was destined to be a certainty from the moment of its release: the music video that defined the year was Hiro Murai’s astonishing clip for Childish Gambino’s “This Is America“. While that video more than deserves all of the praise its received, the aim of this site is to shed some more light on what’s flickering away in the shadows, which brings us to Hop Along‘s incredible video for 2018 highlight “How Simple.”

The first image of Derrick Belcham’s video for “How Simple” is a spotlight, centered on an unopened door. As a visual cue, it’s deceptively striking and open to many valid interpretations but it’s an image that only lingers for a few second as guitarist/vocalist Frances Quinlan seizes that spotlight and turns in a tour de force performance as the clip’s central subject. Exuding classic Hollywood charisma, bringing to mind the likes of Audrey Hepburn, Olivia de Havilland, and Jean Simmons.

Quinlan’s an inherently magnetic presence on stage (and in studio) so it’s not a surprise the wildly gifted songwriter dominates nearly every frame of the “How Simple video, which is perhaps a calculated outcome for a narrative so heavily centered on personal identity. There’s an incredible emotional spectrum on display here with Belcham leaning hard into Quinlan’s facial expressions, which tell a story all their own.

“How Simple” is an incredible journey that’s gifted an incredibly appealing setting as its story unfurls, navigating everything from shame to resentment to anger to acceptance to celebratory self-reconciliation. Wisely making its home in the mundane nature of every day existence, “How Simple” cuts to the root of several hard-won realizations. By the clip’s purposeful resolution is revealed, Belcham’s ensured a moment of appreciation for a quiet triumph of perseverance, putting one last piece of finite punctuation on the best music video of 2018.

 


Further Watching: Peach Kelli Pop – Drug Store’s Symbol of Happiness | Lemuria – Kicking In | Advance Base – Your Dog | Dilly Dally – Doom | Pedro The Lion – Yellow Bike | Vundabar – Acetone | Hala – Sorry | Free Cake For Every Creature – Be Home Soon | Slothrust – Double Down | Onlyness – Comfortable | Deaf Wish – FFS | Spirit Was – Golden Soul | Harry Permezel – Wax Man | Alien Boy – Somewhere Without Me | The Magic Gang – Getting Along | Shame – Lampoon | Clearance – Had A Fantastic | Amos Pitsch – Piece of the Season | illuminati hotties – Cuff | Snail Mail – Heat Wave | Courtney Barnett – Charity | Lauren Hibbard – What Do Girls Want? | Tomberlin – Self-Help | Homeboy Sandman & Edan – The Gut | sewingneedle – Feel Good Music | The Beths – You Wouldn’t Like Me | Zuzu – Can’t Be Alone | Flasher – Material | The Glow – Beamer

Two Months, 12 Records

Over the past two months, hundreds of good records have found release. This post takes a look back at a dozen of the most notable titles in that crop. A handful of site favorites make appearances here, with the styles ranging from gentle folk subgenres to incredibly volatile brands of explosive strains of punk. A few records choose to cast their sights on hope, while others embrace an unrelenting heaviness. All of them, of course, are worth owning. Explore, listen through, and find ways to support the records that connect.

Saintseneca – Pillar of Na

A band that has yet to put out a bad record keeps that trend alive with Pillar of Na. Even with a slight lineup change (Maryn Jones parted ways with the band after relocating to the East Coast), Saintseneca‘s identity shines through on another album that finds the band embracing a more prominent Eastern influence within their Appalachian Folk-informed music. Pillar of Na also feels even more contemplative and complete than the band’s previous effort, Such Things, which is a point driven home by near-circular bookends. Not a false note from start to finish, Saintseneca’s records remain an immense joy.

Options – Vivid Trace

When post-punk and basement pop exist in harmony, the results typically range from good to incredible. Options’ Vivid Trace makes it abundantly clear from the opening salvo onward that this is a record — and a band — that skew towards the latter. Masterfully composed, produced, and sequenced, Vivid Trace is an important reminder of the potential of a niche subgenre that has direct ties to this site’s very roots. Vivid Trace is the exact type of album that Heartbreaking Bravery was built to celebrate: an astonishing work from a band fighting an uphill battle for greater recognition.

Lonely Parade – The Pits

A trio of advance singles suggested that Lonely Parade may have a legitimate Album of the Year contender on their hands, especially within the realms of energetic post-punk. The Pits confirms those suspicions with emphasis. Every song on the record’s teeming with ferocity, hooks, charisma, and conviction, as if the band’s been allowed to unleash all of their unchecked aggression. It’s that sense of purpose that makes how refined The Pits ultimately winds up being even more impressive. Lonely Parade intentionally take the train off the rails and treat us all to an unforgettable ride.

Fred Thomas – Aftering

Billed as the final installment of an ongoing trilogy of records, Fred Thomas delivers another record that cements his reputation as one of today’s most thoughtful songwriters. Aftering, Thomas’ latest, also finds the songwriter collaborating with contemporaries far more than usual, a decision that reflects on some of Aftering‘s narrative themes (especially the importance of support structures). As is always the case with a new Fred Thomas release, a few career highlights are thrown in, ranging from sunny, fast-paced basement pop to devastating ambient ballads shot through with a wealth of longing and regret. Being alive brings us to the peaks of joy and cycles us through unimaginable pain but Aftering is good company to keep no matter where the hammer falls.

Waxahatchee – Great Thunder

Ever since American Weekend began Katie Crutchfield‘s transition from a DIY circuit staple to an internationally beloved voice, Waxahatchee has picked up an increasing amount of scrutiny. Curiously, Great Thunder — Crutchfield’s project with Keith Spencer (formerly of Swearin’) — managed to get lost in the wake. The duo released two lovely records, before retiring the project, leaving behind some of their best work. Waxahatchee’s latest release pays homage to that project and Crutchfield’s roots as a songwriter, rescuing some of the project’s standout material to present in a new light. Great Thunder winds up as one of Crutchfield’s warmest releases as a result, rendering the EP unmissable.

The Sofas – Nothing Major

The Sofas proudly wear their influences on their sleeve from the very jump of Nothing Major, which immediately recalls Sonic Youth’s most pop-leaning moments in their Rather Ripped era. Fortunately, those influences never threaten to overwhelm the proceedings, each track standing firmly on its own, letting the record stand as a collection of noise-leaning, feedback-heavy basement pop triumphs. Every song on Nothing Major has addictive qualities, striking the perfect balance between an influx of energy and an incredibly present sense of melancholy.

Mutual Benefit – Thunder Follows The Light

In 2015’s “Not For Nothing”, Mutual Benefit can already claim one of the present decade’s best songs. Anything any artist does from that point forward comes with great expectation and Thunder Follows The Light renders those expectations meaningless. Every song is guided with the same gentle hand, infused with the same sense of calm and tacit understanding that allowed the project’s earlier works to thrive. Every gorgeous, mesmeric second on the record seems to instill a sense of peace, making Thunder Follows The Light a deeply important record in the face of today’s overwhelmingly combative climate.

Whitney Ballen – You’re A Shooting Star, I’m A Sinking Ship

The debut record from Whitney Ballen‘s one of many releases on this last that grapples with a challenging dichotomy. What sets You’re A Shooting Star, I’m A Sinking Ship apart from those releases is its operative velocity. A breathtaking record in the truest sense, You’re A Shooting Star, I’m A Sinking Ship finds Ballen grappling with deeply uncomfortable truths, desires, and impulses, while delivering compositions that suggest lighter material. Imbued with genuinely shocking moments, a masterclass in sustained dynamic tension, and a sense of steady control amidst an expressed sea of uncertainty, Ballen’s released one of the year’s most unforgettable records.

Dilly Dally – Heaven

One of 2018’s most heartening moments came in the form of Dilly Dally‘s self-resurrection. The band opened up about their own difficulties recently and Heaven is their testimonial offering of those challenges and where they’ve arrived as a band: reborn and with a renewed sense of purpose. Desire was a record that embraced the ugly and the damaged as beautiful, with a suggested distance between the band and those observations. Heaven reframes that dynamic and positions the band dead center in a brutal storm of reckoning, staring out at a sliver of light on the horizon, knowing that the ruins of the world will be theirs for the taking.

LOOSE – Haircut 

A relatively new band to this site, LOOSE nonetheless make a sizable impression with Haircut, an extremely impressive record that finds them tethering together strains of math rock, emo, basement pop, noise-punk, and bedroom pop. It’s an endlessly fascinating listen that never wavers in its surging momentum, anchoring ambitious compositions with relatable narratives. Head-turning in the best sense, Haircut suggests a wealth of talent and an abundance of promise reside in LOOSE. Unpredictable and unexpected, Haircut is an extraordinarily pleasant surprise.

Puppy Problems – Sunday Feeling

Sami Martasian‘s Puppy Problems project has been going for quite some time now, steadily evolving over the years while gaining a small cult following. All of those lessons come to a head on the project’s debut record, Sunday Feeling. As always, Martasian proves to be a commanding lyricist, waxing poetic on meditations about what it means to be a young adult today. Gorgeous folk-leaning bedroom pop compositions abound, echoing traces of (SANDY) Alex G‘s quieter works while containing enough personality to stand on their own. It’s an impressive record from a project that deserves an expanded audience.

Advance Base – Animal Companionship

Owen Ashworth’s projects have an infamous penchant for tapping into a sense of overwhelming sadness to create work that ultimately winds up life-affirming. Animal Companionship, Ashworth’s fourth effort as Advance Base, sees this formula ringing especially true. Corpses, both literal and metaphorical, riddle the record’s landscape, with an emphasis on pets. Throughout, Ashworth turns in the best work of an illustrious career, reaching something so human and so intangible that Animal Companionship can momentarily become a difficult listen. In the end, the journey becomes worthwhile, and Animal Companionship stands proudly as one of 2018’s finest, most moving records.

 

 

 

Lonely Parade – Olive Green (Stream)

It’s been a while since anything went up on these pages and there are a lot of reasons behind yet another interim but, as ever, the work continues to be done behind the scenes. Five posts were scheduled to go up before that break and will be going live today. This is one of those posts.

One of 2018’s more exhilarating breakout acts, Lonely Parade have crafted an immensely enticing lead-in to The Pits, thanks to the strength of the record’s advance singles. “Olive Green” is the latest piece of evidence suggesting that The Pits is primed to be one of the year’s best records. Once again, Lonely Parade deliver a work that surges off the energy that comes with their territory (the intersection of basement pop and post-punk), offering up an incredibly catchy run of razor-sharp guitar work, an aggressive rhythm section, and a pointed vocal delivery that oscillates between confidently sardonic and meaningfully unhinged. In short: it’s brilliant.

Listen to “Olive Green” below and pre-order The Pits from Buzz here.

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.