Heartbreaking Bravery

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Tag: Lost Balloons

17 of ’17: The Best Songs of the Year

2017 was a staggeringly balanced year in terms of memorable musical output. To honor that consistency, the typical run of 17 songs will be complemented by a list — in no particular order — of 83 other great songs to find release throughout the year. As usual, the “best” tag simply acts as shorthand for the music I was fortunate enough to consume from January through December, which had an individual song list that tallied well into the quadruple digits.

Names that are already familiar to year-end lists on this publication reside comfortably alongside artists who are still looking to make a larger impression. Non-singles are included with some of the year’s strongest advance tracks and songs that tip towards hardcore rub shoulders with some quiet basement pop numbers. There’s a lot to contemplate — both inside and outside of the top 17 selections — and even more to celebrate.

These are the 17 best songs of 2017.

Enjoy.

Great Grandpa – Teen Challenge

One of the great album openers of 2017, “Teen Challenge” reintroduced a noticeably more explosive version of Great Grandpa that wasn’t afraid of hairpin turns or controlled catharsis. From the outset of “Teen Challenge” the band is swinging for the fences but it’s not until the enormous final section where something deeply impressive transforms into something legitimately inspiring. It’s a celebratory song that comes loaded with conviction and is delivered with the type of determination that refuses to be held back.

Mo Troper – Your Brand

One of this site’s picks for last year’s Album of the Year honors, Mo Troper returned this year with two records. One, a collection of older material reworked for Troper’s current band, the other, an inspired effort of new material that saw Troper expanding his ambitions to legitimately unexpected degrees. The elevation of both songwriting and production on Exposure & Response is particularly evident in career highlight “Your Brand“, which finds Troper turning his gaze towards the brand-obsessed inhabitants of social media, people who treat themselves as corporate entities and flaunt varying levels of entitlement.

Occasionally, those same denizens find the levels between tongue-in-cheek mockery and unwitting sincerity blurring into an unrecognizable definition. It’s a richly-deserved skewering that’s shot through with a resigned understanding. The tasteful string and brass arrangements that adorn “Your Brand” send the song to euphoric heights even as Troper is weighed down in the bog of a tragicomic reality. It’s a masterful outing that positions Troper as one of the most promising pop songwriters of this generation.

Cende – What I Want

Cende‘s first and final full-length effort was an enticing effort headlined by a slew of singles that all warranted consideration for placement on this list (and earned individual write-ups). None of them wound up impressing quite as deeply as the song boasting the record’s most challenging — and towering — arrangement, the Greta Kline-featuring “What I Want“. Falsettos, a lilting string arrangement, and an incendiary bridge showed off Cende’s formidable range, tilting from something approaching the saccharine to a vicious instrumental outburst at the click of a hi-hat.

Charly Bliss – Westermarck

Few bands have earned as much attention and praise from this site as Charly Bliss over its four-year existence and it was heartening to watch the band break out in 2017 with one of the year’s most affirming releases in Guppy. While every track on that record is noteworthy for one reason or another, it was “Westermarck” that kept revealing deeper facets of itself. A rousing meditation on uncertainty couched in an unapologetic joy of simply being alive, the song became an unlikely anthem for anyone questioning their partner’s motives (especially in significantly skewed familial setting).

Common Holly – Nothing

Tender, sparse, and wrought with longing, Common Holly‘s “Nothing” proves how adequately minimalist formulas can maximize difficult emotions. It’s a bare-bones run through a personal affirmation, rendering something that appears delicate at first blush searing at second glance. More than that, “Nothing” introduces Common Holly as a deceptively powerful artist with the capacity to deliver breathtaking turns in the quietest rooms.

Weaves – Puddle

Riding a wave of critical adulation and having earned the respect of their contemporaries, Weaves returned in 2017 with Wide Open, an aptly named run that they billed as their Americana effort. While the record takes a lot of notable cues from that genre, the band’s wildly erratic, genre-obliterating core remained intact with the barn-burning closer “Puddle” acting as the clearest indication that the band’s unpredictable firepower was still fully intact.

Fred Thomas – Misremembered

Following a record as momentous as All Are Saved will always be a difficult task but to surpass high expectations in the way that Fred Thomas managed with Changer is a rarity. From the record’s dynamic opening track, Thomas proves to be more focused than ever, spinning barbed tapestries of lived-in realism with unmatched verve. “Misremembered” isn’t just a testament to Thomas’ lyricism, either, the fiery music that serves as its backdrop propelling it to stratospheric heights.

Big Thief – Breathe In My Lungs

A lot of outlets gave Big Thief‘s breathtaking “Mary” a deserving amount of love, ranking both the song — and the record it resides — as the year’s best. Meanwhile, the band’s devastating B-side, “Breathe In My Lungs”, flew under the radar. As is often the case with bands as prolific and talented as Big Thief, “Breathe In My Lungs” is so much more than just a castaway or afterthought, it’s one of their most heartrending numbers, expertly using the considerable weight of guitarist/vocalist Adrianne Lenker’s singular voice to turn in some of the year’s most unforgettably damaged romanticism.

Cayetana – Bus Ticket

2017 saw a very large handful of bands taking the next step in their evolution but few seemed to take their strides forward with as much assurance as Cayetana, who zeroed in on what’s long been the crux of their songwriting: mental health. No song conveyed this more than their staggering “Bus Ticket“, which saw the band slowing the tempo and accelerating the force the trio’s always put into their compositions. Managing to be direct and atmospheric simultaneously, “Bus Ticket” stands proudly as a career high for a band that’s found their voice.

Yucky Duster – Elementary School Dropout

One of the year’s most unabashedly exuberant records came in the form of Yucky Duster‘s latest EP, Duster’s Lament. Headlined by the effusive “Elementary School Dropout”, the band offered up an irresistible slice of joyful basement pop that grounded it’s more playful elements with some effective self-deprecation. Expertly toeing the balance between the light and the bleak, “Elementary School Dropout” stood out as 3 of 2017’s most outright fun minutes in a year where that sort of thing was desperately needed.

Strange Relations – Say You

One of the boldest re-introductions of 2017 came by way of Strange Relations‘ enormously confident Editorial You, which was teeming with memorable bursts of icy post-punk that saw the band considerably elevating their grasp on composition. One of the most significant individual outings for the project comes on the record’s second track, “Say You“, which conjures up a steely demeanor and enhances it with fiercely jagged musical interplay. Both minimalist and towering, it’s an obscenely impressive song from a young band that seems determined to continuously reach for greater heights.

Covey – Call Home

There were a lot of songs that came out over 2017’s 12 months that occupied a similar space as Covey‘s “Call Home”: laid back, lovely, unassuming, and tinged with regret, loneliness, and despair. None of them wound up staying the way “Call Home” managed to stay; the song’s melodies and gorgeous chorus humming along and dominating unexpected spaces of memory when it could’ve just as easily rescinded into oblivion. Every return listen offered a new take and at some point, the song migrated from being a pleasant curiosity to something far more essential: one of the year’s best.

IDLES – Mother

Recently given Music Video of the Year honors, IDLES‘ “Mother” also comes off as a ferocious head-turning effort when stripped from its hyper-intense visual accompaniment. Vocalist Joe Talbot repeats several mantras throughout “Mother” — written as a tortured tribute to his own late mother, whose portrait graces the record’s cover — each of them decrying two evils: one political, one sexual, both too frequently intertwined into a nightmarish whole.

Viciously opposed to a system that uses a weighted system to the benefit of the people who are afforded privilege, the song is a startling reminder of the seething anger and frustration of the people who oppose those systems. It’s a clarion call delivered with an excess of venom, using it’s hardcore leanings to drive a message home hard enough that the ramifications of our choices are left lingering in the smoke.

Palehound – If You Met Her

A beacon of consistency over the past several years, news of a new Palehound record was welcome when it was first announced. The first few singles were packed full of the band’s usual tricks but then “If You Met Her” arrived and decimated everything. A hard-hitting look at how the loss of someone you know can affect your own perception of what it means to die, “If You Met Her” immediately registered as not just Palehound’s darkest effort but the project’s best as well.

It’s a gripping, grounded meditation on life itself and it’s delivered with such empathetic understanding that it’s nearly impossible to listen to the song in full without running through an avalanche of feeling. Anything that inspires that level of emotional response and visceral reaction is worth noting — and in the case of “If You Met Her”, it’s more than worth celebrating.

Young Jesus – Feeling

A longtime staple of this site’s coverage, Young Jesus have continuously found exciting ways to evolve as a band in the face of a slew of obstacles that leave lesser bands stumbling. From nearly complete lineup shifts to a refocused experimentation to a relocation that took them from the upper Midwest to the West Coast. The band’s latest effort saw a quick self-release suddenly disappear only to be re-released shortly after by Saddle Creek.

All it takes to understand why such a revered label would take on the band is one listen to “Feeling”, a sprawling 10-minute opus which beautifully showcases the band’s remarkable range, guitarist/vocalist John Rossiter‘s penchant for blending memorable poetry with unforgettable melody, and a growing fearlessness. It’s a heart-stopping moment on what remains one of 2017’s most woefully overlooked records and reaffirms Young Jesus’ place as one of today’s best bands.

The Magic Lantern – Holding Hands

Easily one of 2017’s outright loveliest moments, The Magic Lantern‘s “Holding Hands” casts a spellbinding magic all its own within its opening figures, as a yearning vocal is laid on a bed of gentle saxophone figurines. As the notes and vocals hold — with as much purpose as the imagined goal of the narration, no less — the song winds up with enough power from two core elements to elicit chills.

When the body of “Holding Hands” takes shape as the drums kick in, providing yet another one of 2017’s most perfectly-realized moments, it becomes abundantly clear that something miraculous is happening on the track. By the time it all winds to a ghostly close, “Holding Hands” has left a mark that deserves to be called upon fondly in the days to come. In all of it’s warmth and care, “Holding Hands” pushes forward from a simple greatness and achieves something far closer to transcendence.

SONG OF THE YEAR:

Mount Eerie – Real Death

When Mount Eerie‘s “Real Death” first arrived, it was set to get a standalone feature. That post never arrived as I personally struggled with the decision to attempt to bring any sort of discourse to something so nakedly personal, which held true for A Crow Looked At Me (the record it’s from) as well. As time passed, that decision lingered, though it became increasingly difficult to listen to both the song and the record, famously written about the death of the songwriter’s wife and recorded in the studio she’d built in their house, on the instruments she left behind.

Even without being able to listen to the song, the memory of the song stayed as strongly as the feelings that accompanied the first listen (as well as the subsequent ones). It’s the sound of Phil Elverum tearing his own wounded heart out of his body to present to the world so that they can understand what kind of grief accompanies something so tragically world-shifting.

While every moment of “Real Death” is shattering, the weight of it becomes nearly unbearable when Elverum shifts the lyrics from oblique poetry to a hyper-specific narrative, recounting one moment of singular heartbreak that arrived with a package that has late wife had secretly ordered for their daughter. In that retelling, Elverum envisions his wife, living with the knowledge that her wife would be ending, thinking ahead and wanting to provide comfort for the people she loved.

Not only does that specific moment touch upon why Geneviève was someone he loved so fiercely but, in doing so, provides the song’s listeners a glimpse into her character as well. It effectively shifts the tonality of the record even further toward heartbreak by painting such an intimate portrait, making “Real Death” come across as even more unmistakably, painfully human. It’s a tribute to an artist that so many of us wish we knew and stands as a stark reminder to cherish the ones we do know while we can and to strive to match their gifts with our own.

By positing real-life implications alongside meaningful execution, “Real Death” became something much larger than the sum of its parts. In plumbing the depths of personal loss, Elverum’s Mount Eerie projected gifted us something hard to experience and impossible to forget. With any luck, it will steer us towards more effectively demonstrating our love when it can be appreciated by the people for which it’s intended.

 

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The Best of the Rest

18-21

22-26

27-32

Middle Children – Baby Boom
Joyce Manor – NBTSA
Thurst – Forever Poser
The New Years – Recent History
Monomyth – Puppet Creek
Hermetic – Strategic Default

33-100

Protomartyr – A Private Understanding
Alexander F – Call Me Pretty
Pile – Dogs
Vagabon – Cold Apartment
Cloud Nothings – Internal World
Prom Queen – Blonde
Holiday Ghosts – Can’t Bear To Be Boring
Washer – Dog Go Bark
Grouper – Children
Slaughter Beach, Dog – Fish Fry
Fits – Ice Cream On A Nice Day
Meat Wave – Run You Out
The Spirit of the Beehive – Ricky (Caught Me Tryin’)
Walter Etc. – April 41st
Chemtrails – Deranged
Juila Louise – Brat
See Through Dresses – Lucy’s Arm
Amy O – Lavender Night
Modern Baseball – This Song Is Gonna Buy Brendan Lukens A New Pair of Socks
Girlpool – It Gets More Blue
The Total Bettys – Stay Here All Night
Tica Douglas – Same Thing
Midnight Reruns – Warm Days
WHY? – Proactive Evolution
Hand Habits – Sun Beholds Me
Long Neck – Mine/Yours
Julien Baker – Appointments
Anna Burch – Asking 4 A Friend
Palm – Walkie Talkie
Single Mothers – People Are Pets
Lydia Loveless – Desire
Deem Spencer – Soap
Two Inch Astronaut – Play To No One
Blessed – Headache
Diet Cig – Maid of the Mist
Madeline Kenney – Big One
Dream Wife – Somebody
Bethlehem Steel – Finger It Out
Strange Ranger – House Show
Miya Folick – Trouble Adjusting
Jesca Hoop – Pegasi
Fiji-13 – Mansplain It To Me BB
Idle Bloom – Dust
Florist – What I Wanted To Hold
Beachheads – It Feels Alright
Fruit & Flowers – Out of Touch
Ratboys – The Record
Schlotman – Holy Basil
Lost Balloons – Numb
John Rossiter – Mom Guitar
Lomelda – Interstate Vision
Walter Martin (ft. Matt Berninger) – Hey Matt
Jay Som – The Bus Song
Japanese Breakfast – The Body Is A Blade
Screaming Females – Glass House
Phoebe Bridgers – Smoke Signals
Open Mike Eagle (ft. Sammus) – Hymnal
Half Waif – Frost Burn
Petite League – Pocketknife
Say Sue Me – Bad Habit
Petal – 15
Waxahatchee – Silver
Jason Isbell & the 400 Unit – If We Were Vampires
Siobhan Wilson – Whatever Helps
Sammi Lanzetta – Circles
Deep State – Nothing Speaking
Saintseneca – Moon Barks at the Dog
Lithuania – 5000 Year Leap

The 10 Best Music Videos of August

August blew threw 2017 with no hesitation and left an enormous pile of exceedingly great material in its wake. This post will key in on the ten best music videos to be released over that period of time (with the first week shaved off and a few days of September tacked on). A lot of site favorites make appearances below but a new name or two found a way to make a splash. Each of those artists and clips has earned the praise they’ve been given or are about to receive. 2o17’s been overflowing with great clips and these are only adding to the year’s abundant strength. Dive in and go exploring.

Mike Krol – Fifteen Minutes

Over the past several years, Mike Krol has made a habit out of reveling in the playfully sardonic. Turkey, Krol’s astonishing breakthrough record — and first release for Merge — laid those groundworks bare. So it shouldn’t come as too much of a surprise that Krol’s next step was to go back in time, re-release his first two records (cult staples among a very specific sect of the DIY punk crowd) and make a bizarre, tongue-in-cheek music video starring a mannequin for a song that came out six years ago. It’s perfectly Krol.

Weaves – Walkaway

Weaves‘ self-titled was one of the best records of the past few years and the band’s been making good on that momentum that release generated with their advance singles for their forthcoming release. “Walkaway”, the most recent, is anthemic, empowering, and has the kind of staying power to remain on the college airwaves for years to come. The song also now boasts a beautiful clip featuring the band getting a touch of aggression out in a sweeping field. It’s a striking video that somehow manages to make the song feel even more titanic than usual.

Lost Balloons – Noose

One of 2017’s best surprises thus far has been the duo Lost Balloons who feature the talents of Jeff Burke and Yusuke Okada, two names a large handful of people in both America and Japan should already have memorized. The project’s debut effort, Hey Summer, was the type of unassuming basement pop record that tends to stick longer in people’s minds than most would expect and they’ve granted one of that album’s best songs a beautiful animated clip in “Noose”. It’s a gorgeous tapestry that’s worth admiring.

Radiator Hospital – Dance Number

It’s been a while since Radiator Hospital released their incredible Torch Song so news of a new record was incredibly welcome. Even better: the announcement came on the back of the release of this charmingly straightforward clip for the characteristically excellent “Dance Number”, which renews the case for Sam Cook-Parrott as one of this generation’s most emotionally affecting lyricists. Poignant, bittersweet, and undeniably catchy, it’s a great song bolstered by a surprisingly effective video.

Charly Bliss – DQ

No band’s name has appeared on this site more over the past two years than Charly Bliss. The band’s recently-released Guppy went a long way in ensuring their prominence and a handful of excellent clips and performances kept their name in the rotation. “DQ” now joins their ranks, standing as one of the band’s most playful — and personal — videos. Guitarist/vocalist Eva Hendricks co-directed the clip alongside Andrew Costa (who helmed quite a few of the band’s other videos), which features everything from trampolines to cows to football sleds to a dog that’s great at playing dead. As is always the case with the band, it’s an absolute blast and surprisingly hard to forget.

Kielo – Radiate

A while back Kielo released an absolutely breathtaking song/video combination in “In Water” and the Laura Schultz-led project has now doubled down on that measure with the spellbinding “Radiate”. Comprised largely of photography-centric cinematography, the clip allows the song to be elevated by calming visuals, creating an effect that’s both warm and inescapable. It’s a genuinely gorgeous thing to behold and deserves all of the views and listens that can possibly come its way.

Bully – Feel the Same

One of the more invigorating acts of the past few years, Bully have shown virtually no signs of slowing down. The band’s also growing a little more confrontational, as evidenced by their nearly-antagonistic clip for “Feel the Same”, which features nothing but a balloon expanding in a darkened empty room until it starts leaking a stream of yellow liquid. As simple as it is, the imagery is incredibly hard to shake and the concept sticks. It’s bold, it’s abrasive, and it fits the band like a glove.

Julia Louise – Brat

A new name to Heartbreaking Bravery, Julia Louise somehow managed to evade this site’s radar over the past few years. Still, it’s hard to imagine the songwriter could’ve had a better introduction-at-large than the clip for “Brat”, a song that subverts the limitations of emo and standard pop-punk to mesmerizing effect. Aided by strong visuals, a charismatic central performance from Louise and a sense of conviction, “Brat” is the sound (and look) of an artist coming fully into their own.

Fog Lake – Rattlesnake

Last year Fog Lake‘s “Rattlesnake” slithered its way into at least one best-of list that ran on this site. The song’s proven to have legitimate staying power and has now been granted a beautiful visual accompaniment. Calm, a little eerie, and deeply empathetic, “Rattlesnake” follows a man as he explores New York City, alone and content to wander. It’s incredibly affecting and stirs up a genuine, intangible reaction by simply disallowing the constraints of a discernible narrative and opting to focus on the emotional pull at the crux of being at home and separated from that home all at the same time.

See Through Dresses – Lucy’s Arm

A few months ago, See Through Dresses played an incendiary set as an opener for Charly Bliss in Minneapolis. The highlight of their set came via an impassioned run through “Lucy’s Arm”, a clear standout from their exceptional Horse of the Other World. The band’s wisely decided to go ahead and give the song the music video treatment, a decision that’s resulted in an arresting black-and-white clip with minimal effects. It’s a surprisingly effective clip that serves as an honorable testament to the song’s overwhelming power.

The Seven Best Full Streams of the Past Three Weeks

Songs and music videos have had their turn in the spotlight so it’s time to shift the focus towards full streams. A stray EP or two and a handful of full-lengths have emerged over the past three week stretch that have managed to make a significant impression. A few fresh faces combined with a host of site staples to create the list, which features a few emergent acts alongside some established names. Exciting debuts brush up against spirited reaffirmations of talent and, in the end, we all win. Take a beat and make a mental note to make sure none of these records go unheard in the coming weeks. Dive in and enjoy. 

Poppies – Good

One of the most promising emerging bands in music, Poppies keep finding new ways to improve upon a growing, riveting discography. Both Double Single and “Told” were exceptional and the band’s music videos have been compelling. Good is the young project’s first statement release and it should go a long way in establishing them as the tantalizing act they’ve been from the outset. All five of Good‘s songs could reasonably called a highlight and continue the band’s unlikely run at unassuming perfection. Basement pop shot through with just a touch of twee, Good‘s perfectly suited for summer and seems destined to become part of the season’s 2017 soundtrack.

Palehound – A Place I’ll Always Go

Palehound have proved their salt on more than a few occasions now, amassing one outstanding record after another and cultivating one of the most inventive, outstanding discographies of any emergent act. A Place I’ll Always Go does the band’s new label, Polyvinyl, more than proud; it’s, by far, the best of the band’s records, which is no mean feat considering the company that it keeps. Nearly every song here registers as a career highlight and in “If You Met Her” the band invokes the defeated, melancholic spirit of Elliott Smith (never a comparison to be made lightly). Start to end, it’s an absolute triumph that easily ranks as one of 2017’s finest musical moments.

Corridor – Supermacado

More than four years into an increasingly promising career, Corridor have been restlessly perfecting their brand of skittering post-punk and sharpening it into a deadly weapon. Supermacado, the band’s latest record, serves as proof. Virtually every track on the record offers something different and the music is more than powerful enough to transcend any language barriers. It’s a masterful record from a band that seemingly refuses to do anything but improve. A fine problem to have, especially when it yields results as engaging and captivating as Supermacado. One of 2017’s most pleasant surprises, Supermacado is a strong enough record to warrant committing the name Corridor to memory.

Big Thief – Capacity

Masterpiece was one of last year’s finest records and definitively put Big Thief on the map. A little over a year later, the band’s already released an astonishing follow-up in Capacity, a towering work that stands shoulder-to-shoulder with their reputation-making debut. Not only did the band prove their consistency with Capacity, they delivered one of the most breathtakingly beautiful tracks of this current decade in “Mary“, a spellbinding meditation on longing and understanding the importance of the past. Hard-earned, weary, triumphant, resigned, burdened, and optimistic in turns, the band keeps their rustic sweep intact and delivers another masterful record.

Cool American – Infinite Hiatus

Earlier this year, Cool American released an incredible compilation of tracks entitled better luck next year vol 2: good job nice try, which remains one of the year’s best releases. Nathan Tucker, the brains behind Cool American, may have already topped it with Infinite Hiatus, the project’s most recent full-length. An inventive, energetic record full of sharp turns and exhilarating dynamic structures cements Tucker’s place as one of today’s most fascinating songwriters. Infinite Hiatus combines bedroom pop with basement punk in a manner more seamless than just about any record attempting a similar combination. Buoyed by Tucker’s distinct personality, Infinite Hiatus offers yet another reaffirmation that Cool American is one of the most consistent projects on the market.

Lexie – Record Time!

The involvement of Frankie Cosmos‘ mastermind Greta Kline in Lexie is bound to direct quite a bit of attention towards the band, which also includes two members of Warehouse. It’s also something of a comfort that Lexie sounds exactly like you’d expect: a more technically proficient and reverb-laden take on what Kline’s been accomplishing with Frankie Cosmos since day one. It’s not an empty recreation, though, the band manages to subvert expectations throughout Record Time! by offering a strain of wiry post-punk that comes as a pleasant surprise, allowing the record to feel varied enough to not only feel fresh but complete. Lightly subversive and characteristically gentle, Record Time! is sweet enough to warrant more than a few extra helpings.

Lost Balloons – Hey Summer

Jeff Burke and Yusuke Okada have made some serious names for themselves, playing in bands like The Marked Men, Suspicious Beasts, Radioactivity, and Blotto. Okada crafted his unimpeachable songwriting reputation in Japan while Burke cranked out a number of genre classics stateside. Both musicians excelled in crafting hyper-excitable basement pop laced with basement punk grit. The two recently joined forces to create Lost Balloons, a project that softens up their vicious attacks while retaining a significant amount of bite. Folk-inflected basement pop informed by decades worth of classic American music, Hey Summer is a record that’s as inviting as it is winsome. Both musicians should be proud to have it as part of their respective discographies.

Meat Wave – Cosmic Zoo (Music Video)

meatwave

It’s been an incredible week for new releases up to this point, so naturally it’s going out with a towering show of force. Fleurie’s glitchy Arrows EP and Craig Finn’s reinvigorated Faith in the Future provided the full streams with a memorable haul while Lou Barlow, Taxidermists, Dog Paper Submarine, and La Sera combined forces to ensure that the visual medium was extremely well-represented. Single songs had a jaw-dropping day yet again with two folk-heavy songs establishing themselves as unlikely song of the year contenders (Lost Balloons’ “Don’t Count On Me” and Futurebirds’ “Hotel Parties“, respectively) while also producing an extraordinary field that included highlights from Varsity, Shelf Life, Prison Whites, Dresses, Psychic Blood, The Intelligence, and Jacques Le Coque. In the middle of that whirlwind, site favorites Meat Wave also unveiled a stunning black-and-white clip for Delusion Moon highlight “Cosmic Zoo“.

A lot of words have been printed about Meat Wave on this site and that’s not a trend that’s likely to change; the band have been a steadfast part of my listening habits even before this site was brought into existence two years ago. The trio played our first showcase, were one of the only On the Up entries, and are responsible for the most-listened-to tape of my considerable collection. After approximately three years of yelling at people to listen to this band, a lot of them are finally starting to come around- a feat that’s no likely influenced by their new home, SideOneDummy. Now with the release of their forthcoming record- the fierce Delusion Moon– swiftly approaching, the band are offering up a video for one of its strongest moments: “Cosmic Zoo”. Andrew Robert Morrison once again takes the reins for the clip and offers up what may be the band’s most effective video to date, eschewing any real plot-based narrative in favor of focusing on the band’s humanity. Interspersing live clips with clips of the trio hanging out with their friends, the crisp, classically composed shots (a few of which echo the work of Anton Corbijn) are injected with an abundance of life. Accelerating the subtle emotional pull of the approach is the song itself, which is as gripping as the clip. It’s another reminder of Meat Wave’s tenacity but it’s also a demonstration of their more modest sensibilities. In short: it’s perfect.

Watch “Cosmic Zoo” over at Nerdist (where it was premiered by A Year’s Worth of Memories contributor Nina Corcoran) and pre-order Delusion Moon from SideOneDummy ahead of its September 18 release date here. Revisit the majority of the band’s set from the first Heartbreaking Bravery showcase below.