LVL UP | Heartbreaking Bravery

For a while now, I’ve been teasing Heartbreaking Bravery’s brief transition to full-blown catch-up mode. And, well, that time has come. Each of the ensuing posts will contain so much more than just the song, video, or album in the headline. Single songs will each come equipped with a list of 75 other great tunes to have appeared in 2015. A new music video mixtape will be arriving shortly as well as several other mixtapes to re-ignite the Watch This series, which time dictated be temporarily relegated to the sidelines. A lot of things will be heading in a lot of directions in the coming months so coverage may be sporadic but I will be damned if I let this site out of my thoughts and intentions for even a second.

With all of that noted, it’s time to get back to what drives this site’s existence: legitimately great art propelled by a DIY ethos. A lot of incredible music has emerged over the past several weeks with gems arriving every day (extremely recent company includes Eskimeaux, Sharpless, Flagland, Flyying Colours, Mitski, Upset, and so many more) so selecting one to feature has become an unenviable task- but sometimes history makes it easy. I was fortunate enough to hear some roughs of a band called Downies towards the start of the year and it immediately became one of my favorite releases, something that came as no surprise considering the group’s pedigree (I’ve yet to come across a LVL UP-affiliated project that I dislike, which can also be said of Porches.). Pushing things over the edge was the fact that Downies came off like a version of Purple 7 that was even more pop-happy but sacrificed none of that band’s considerable punch.

That exhilarating dynamic is perhaps most present in “Widow”, the band’s recently-unveiled warning shot. On its surface, it’s a frantically paced gut-punch that’s forceful enough to stop just about anyone in their tracks. Live, it’s a firecracker that seems hell-bent on total destruction. Stripped back to its bare essentials, it’s a song driven by a troubled subtext that’s directly hinted at in the title. Even setting aside the dissections of its particulars, “Widow” is a staggering show of force from a band that deserves to be ushered in with a high level of excitement.

Listen to “Widow” below and keep an eye on this site for continuing coverage of the band and the upcoming EP that houses this song. Beneath that is a list of 75 incredible songs that I wish I could attribute more words to, as they truly deserve to be held in praise, but- at this point- there’s simply too many items that have amassed. Soon, the site will be caught up and current releases will be accounted for as they enter the fold. For now, enjoy “Widow” and a long list of treasures.

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NEEDS – Rescue Don
Walleater – Swallow You
Turn To Crime – Without A Care
Built to Spill – Never Be the Same
Thin Lips – Nothing Weird
Hollow Sunshine – Careful Travel
Toro Y Moi – Run Baby Run
Dutch Uncles – Realm
Cillie Barnes – Earthquake Season at the Crystal Convention
No Joy – Everything New
Inheaven – Regeneration
Crying – Patriot
Torres – Sprinter
Hop Along – Powerful Man
Ronnie Stone & The Lonely Riders – Kiss the Daddy
Dolores Haze – I Got My Gun
The Teen Age – Low Cunning
Funeral Advantage – I Know Him
Shadow Age – Silaluk
YAST – When You’re Around
Mittenfields – Optimists
Coeds – Sensitive Boys
PJ Bond – The Better Option
Pfarmers – The Ol’ River Gang
Round Eye – City Livin’
Val Son – Sundays
Lowin – Best Laid Plans
Alright – Watercolors
The Midwestern Charm – Can’t Stand It
The Bloodhounds – La Coahuila
Broken Water – Wasted
Trans Van Santos – The Flight
Weed – Yr Songs
Elliot Moss – Best Light
Girls Names – Zero Triptych
Communions – Out of My World
Two Sheds – Get It Out
Free Cake For Every Creature – The Day To Day
Elvis Perkins (ft. Alec Ounsworth) – Mexican Ritual
Loose Tooth – Pickwick Average
Barbazons – Bad Catholics
Eternal Summers – Together Or Alone
Someone Still Loves You Boris Yeltsin – Step Brother City
Mall Walk – Container
Verses Narrow – Passive
Nevada Nevada – Anger Tango
Annabel – Everything
Triumph of the Wild – Brown Dog Blues
Mitski – Square (Live Solo Piano)
Chick Quest – Somebody Call A Doctor
Downtown Boys – Future Police
Honey Butter (ft. Chris Savor) – Times
Tanlines – Invisible Ways
Heaters – Mean Green
Warm Soda – I Wanna Go Fast
Diamond Youth – Thought I Had It Right
LA Font – Whisperer
Palma Violets – English Tongue
Prinzhorn Dance School – Reign
FFS – Piss Off
Avid Dancer – Not Far To Go
Cheatahs – Murasaki
Jaga Jazzist – Starfire
Flyying Colours – Running Late
Eskimeaux – I Admit I’m Scared
Sharpless – Franz Kafka (Home Movies)
Flagland – Awesome Song, Kerry Jan
Tomboy – Tomboy Anthem
The Moi Non Plus – Away With Words
Upset – Glass Ceiling
Panther Ray – Get to You
The Weaks – Frances Quinlan Will Have Her Revenge on Philadelphia
Ka – Pruitt Igoe
Dogs On Acid – Substitute (The Who)
Creepoid – American Smile

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March 17, 2015

First Quarter Clips, Pt. 3 (Video Mixtape)

The fact that it’s been a great year for music videos has been stated- and subsequently reiterated- on this site multiple times over. It’s an unavoidable truth and the evidence in its favor continues to mount. While Part 3 (and the fourth collection) brings the featured 2015 music video total to an excess of 100, that number’s fully warranted by the material below. Due to a handful of these clips being Vimeo-only titles, tonight’s video mixtape is presented through a case-by-case basis. No accompanying text is given to the individual titles but most wind up saying more for themselves than I ever could. From familiar faces to determined upstarts to established entities, there’s a lot to mull over. Whether it’s Jack White temporarily negating seemingly everyone’s conflicted feelings with a masterfully-executed experimental interactive video (follow the link for the interactive clip, the animated version’s embedded in the list) or LVL UP getting hit in the face with steaks in slow motion, the 25 videos below are a testament to the creative spirit currently driving the contemporary state of this particular visual medium. Also: even more puppets. Watch all of the clips below, buy the records from the bands you like, and keep an eye on this site for the final installment of this series for the foreseeable future. Enjoy!

COLLECTION IV

1. LVL UP – DBTS

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2. The Spirit of the Beehive – I Smell Bud

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3. Happyness – A Whole New Shape

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4. Timeshares – The Bad Parts

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5. The Menzingers – Where Your Heartache Exists

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6. Spoonboy – The Dispossessed

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7. Honduras – Mistake

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8. Jack White – That Black Bat Licorice

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9. Deerhoof – Tiny Bubbles

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10. Celestial Shore – Now I Know

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11. Erase Errata – History of Handclaps

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12. Grooms – Doctor M

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13. Swimsuit Issue – Break

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14. Screaming Females – It’s Not Fair

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15. Ex-Cult – Clinical Study

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16. Andy Gabbard – More

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17. Split Single – Fragmented World

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18. Flesh Lights – Free Yourself

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19. Programm – Like the Sun

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20. Rule of Thirds – Fingerprints

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21. Spirit Club – Still Life

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22. Title Fight – Rose of Sharon

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23. Drenge – We Can Do What We Want

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24. Interpol – Everything Is Wrong

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25. Choir Vandals – Monsters

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March 12, 2015

First Quarter Full Streams, Pt. 2

As was noted and clearly evidenced by the last post’s overabundance of content, 2015’s off to a particularly strong start in terms of memorable records. While a few of those 75 entries from that post do have a shot at working their way into the upper echelons of the year’s finest by December, the 25 full streams listed below are among 2015’s very finest offerings. From demo compilations of old material to split EP’s to full-lengths, everything on this list is worthy of an immediate purchase. A few of these are pulverizing shows of force, a few are immediate sugar-rush blitzes, and a few are quietly devastating. All of them are releases I’ve listened to multiple times over and formed very extreme connections with on a myriad of levels. Don’t make a regrettable decision by not giving any of the unfamiliar titles a fair shot: there’s a release here for just about everyone.

1. Quarterbacks – Quarterbacks

Quarterbacks have earned a fair amount of praise from this site and a large amount of that’s been for their exhilarating self-titled, which is the band’s first complete full band effort. Recalling the transition that Radiator Hospital made with their brilliant debut full band full-length effort, Something Wild, Quarterbacks doesn’t pull any of its punches. It’s a spiky record that lends Dean Engle’s songs a ferocious punch that comes with a lingering bite.

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2. Tenement – Bruised Music: Volume 1

I’ve written an enormous amount of words about my unending love for Tenement. Some of those words can be read in the zine that comes packaged with this record. One of my favorite bands, if not outright favorite, for nearly a decade, Bruised Music: Vol. 1 is the perfect reminder of why I fell for this band in the first place. A compilation of early material from long out-of-print 7″ records, compilations, and other various scraps, this is the definitive starter kit for anyone looking to retrace Tenement’s career path to its humble beginnings. Unsurprisingly, it’s also ridiculously brilliant. Expect to see more words about this record published on this site in the coming months.

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3. Krill – A Distant Fist Unclenching

Krill forever.

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4. Hailey Wojcik – Book of Beasts

One of the year’s best early surprises, Hailey Wojcik’s Book of Beasts EP has all the makings of what could (and should) prove to be a career-making effort for the singer/songwriter. Dark tones, brilliant composition, strong melody, and an incredibly alluring voice is always a dangerous combination. Here, each one of those elements is shot through with a Gothic Americana sensibility that manages to find its niche in forward thinking. It’s an incredible release and deserves much more attention than it’s been receiving. Bonus points for offering the release up on bandcamp for the price of $6.66.

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5. Daddy Issues – Double Loser

Daddy Issues may not be the most recognizable name on the market but we’re less than a month removed from the cassette release of Double Loser and the thing’s already sold out. Now, measuring a record’s strength in terms of sales is generally a deeply problematic formula- but in this case, it seems just. Double Loser has the strength of what could become a celebrated cult classic among a very particular breed of crate-diggers. Undeniably winsome and darkly enchanting, this EP cements Daddy Issues’s position as a band that’s ready for much bigger things.

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6. Pope – Fiction

Heavy, cutting, and melodic in a way that hits the intersection of a wide spread of tastes just right, Pope’s Fiction is the kind of record that’s got the verve to last long after it appears on a few best-of lists. Cloaked in a wall-of-noise type production sheathe, Fiction is one of the first quarter’s most unapologetic and propulsive releases. Balancing a suspiciously taut tightrope between shoegaze and post-punk, every song manages to be breathtaking by virtue of sheer cathartic release. Pope’s made something genuinely exhilarating that deserves to be in as many collections as possible.

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7. Alanna McArdle – reticular (2012-2013)

While Alanna McArdle may be best known as the lead personality for site favorites Joanna Gruesome, her career doesn’t begin and/or end with that particular band. McArdle recently released a compilation of genuinely stunning (and mostly acoustic) bedroom recordings. The guitarist/vocalist taps into something more bravely vulnerable than the trappings of Joanna Gruesome usually allows for, creating a hushed, spellbinding atmosphere. reticular (2012-2013) has been one of 2015’s more unceremonious releases but it’s also easily one of the year’s most fascinating. Already one of the most-played releases in my library, it’s a monumental entry in the career of one of the more engaging musical figures of our generation.

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8. Trust Fund – No One’s Coming For Us

“Cut Me Out“, one of No One’s Coming For Us‘ first singles, seemed to be a strong indicator that the band would have something special with their upcoming record. It was a presumption that the record somehow, against reasonable logic, managed to exceed. Easily the strongest effort in the band’s burgeoning discography, No One’s Coming For Us is a specatacular warning shot from the kind of band that seems like they’re setting up for the long haul.

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9. Cloakroom – Further Out

Most of the description for Pope’s Fiction also stands true for Cloakroom‘s jaw-dropping Further Out. Except here, Cloakroom adds an extra layer of heaviness, which frequently relents to territory even more accessible than the realms of Pope’s niche operation level. Further Out is going to continue to stand as one of 2015’s most awe-inspiring releases as the months progress and it’ll be the kind of record people will look to for inspiration. It’s an incredible achievement and ranks among the finest releases to carry the vaunted Run For Cover tag.

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10. Wildhoney – Sleep Through It

The first two months of 2015 were very kind to bands incorporating a heavy shoegaze bent into their sound, a fact furthered by listening to Wildhoney’s gorgeous full-length debut, Sleep Through It. Embracing the pop sensibilities of the genre and maximizing them without ever drifting out of post-punk’s territories, Wildhoney manages to create an incredibly appealing record that delivers on the promise of their brilliant EP. Sleep Through It is yet another album people are going to be talking about for many months (and hopefully, years) to come.

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11. Lady Lamb – After

Goodbye Lady Lamb The Beekeeper, hello Lady Lamb. The rightfully-acclaimed After features songwriter Aly Spaltro at a transition phase in her career. Already a few extraordinary records deep into a continuously promising run of releases, After is already taking Spaltro to the next level(s). With the sudden name change, Spaltro managed to make her brand even more accessible without diminishing any of her other qualities. On the contrary, After may be the fiercest entry in Lady Lamb’s remarkable discography. After was initially teased with the absurdly delightful “Billions of Eyes” and the rest of the record manages to live up to those intensely high levels of promise. Listen below and fall in love all over again.

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12. PWR BTTM + Jawbreaker Reunion – Republican National Convention

Two of New York’s finest emerging young bands come together to make a split EP, what can go wrong? Nothing. The answer is nothing. Jawbreaker Reunion continue to be as exciting as ever, PWR BTTM make one hell of a mark, and both “Hold Yer Tongue” and “Adventure Time” rank among the best songs of the year. Every other Valentine’s Day gift paled in comparison.

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13. Slutever – Almost Famous

Punchy, strong, and incredibly catchy, Slutever followed up their near-perfect Girlpool split with this piece of magic. Expertly balancing basement pop and basement punk, Slutever take their craft to an entirely new place with Almost Famous, their finest work to date (and an absolute must-own). From the traces of sludge-punk on the reactionary masterpiece “I Miss America” to the hard-charging rush of “Maggot”, Slutever fearlessly follows their whims and explores some previously uncharted territory. Astoundingly, all of it works and leaves the band with a very real contender for EP of the Year.

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14. Lighting Bolt – Fantasy Empire

Thousands of writers have tried to extol the virtues of Lightning Bolt’s furor and no one’s ever managed to match the band’s intensity. Sometimes it’s just better to let the reputation for such a singular act to do the talking- but it wouldn’t be fair to the band if I didn’t note that this just may be the very best record the duo’s ever made.

Listen to Fantasy Empire for a limited time over at NPR’s First Listen

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15. Sleater-Kinney – No Cities to Love

Sleater-Kinney’s thrilling hiatus-ender, No Cities to Love, was one of the year’s first universally acclaimed records and it’s easy to see (or hear) why. Not just incredible in terms of a comeback record but as a career staple for one of the most legendary bands of our era. The trio’s sharper (and thornier) than they’ve ever been on No Cities to Love and couldn’t have scheduled their re-entrance at a better time for their fierce, commentary-heavy diatribes.

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16. Midwives – LP

When Midwives put out their incendiary EP last year, I knew I’d found another Wisconsin-based band to rally behind. Naturally, the hardcore band (which boasts Graham Hunt of Midnight Reruns among its members) has followed that short order of songs up with a gloriously unhinged, shit-kicking full-length. Increasingly scrappy and direct, Midwives may very well have their sights set on bigger things- and if they don’t, those bigger things might find them anyway.

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17. Spook The Herd – Freaks b/w Fermented

There’s a very particular breed of 90’s revivalism whose subversion among current bands is becoming increasingly present. Intriguingly, that camp of 90’s acts (the one that bands like Superchunk and Archers of Loaf belonged to) is notoriously difficult to recreate in intriguing ways. Many of the bands that have released records through Exploding in Sound are a part of that current crop of bands who look to that era for influence and it wouldn’t come as a surprise if Spook the Herd joined that list. “Freaks” and “Fermented” are both first-rate examples of revivalism done right.

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18. LVL UP – Dark Sided Stuff

Anyone whose been following this site at all for the past few months has likely seen LVL UP come up a few times. Dark Sided Stuff, their most recent release, is a compilation of the demos that would go on to become Hoodwink’d (this sites pick for Album of the Year) and a few other recordings that were cut during that time. Unsurprisingly, the end result is a brilliant mess that strips the band back to their rawest state, allowing for a further understanding of their process. Enigmatic and charismatic in equal measure, it’s a release well worth anyone’s investment.

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19. The Juliana Hatfield Three – Whatever, My Love

The Juliana Hatfield Three may not have sparked as much attention as Sleater-Kinney did when they made an unexpected return to music but Whatever, My Love does occupy a similar space to No Cities to Love. Both are examples of a band making a return to form without much warning, after a long time away, and both include some of the best material of each band’s career. A lot of bands that garner a lot of attention here (All Dogs, Radiator Hospital, etc.) have listed The Juliana Hatfield Three as a major influence and those connections, fascinatingly, have never been more crystallized than they are with Whatever, My Love. Don’t let this one fall to the wayside.

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20. Chastity Belt – Time to Go Home

The name Chastity Belt’s another one that’s been kicked around here for a while, thanks mostly to their excellent 2013 LP, No Regerts. Even with as good as that record was, it proved to be impossible to predict just how incredible Time to Go Home would turn out. Chastity Belt have enhanced their identity with their boldest and most fully-realized work to date. Rarely eclipsing mid-tempo, the band allows themselves to settle into comfortably meticulous grooves with a confidence that’s self-assured enough to put a lot of other bands (bands who have been around much, much longer) to absolute shame.

Listen to Time To Go Home over at NPR’s First Listen.

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21. Leggy – Nice Try

“Grrrls Like Us” provided a fitting end-cap to Leggy’s first major year as a band. They’d previously released the commendably great Cavity Castle EP, which wound up being quite a few people’s favorite EP of 2014. Now, the band’s hell-bent on capitalizing on that momentum and they’re doing it in enthralling fashion. Nice Try, an EP the band released last month, isn’t just the strongest work of their young career- it’s a gigantic leap forward for their songwriting. Never anything less than full-throttle, Nice Try is an invigorating reminder that this band’s not going anyway anytime soon.

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22. Matthew E. White – Fresh Blood

Matthew E. White’s Big Inner was one of 2012’s most fascinating- and unique- folk-pop records. Full of wayward experimentalism and intricate arrangements, it showcased White as someone who possessed an original voice. Three years later, he’s unleashed his follow-up: Fresh Blood. While the music’s scaled a back quite a bit in terms of arrangements, the songs here are more immediate, direct, and accessible. By indulging in greater restraint White may have also wound up with something more lasting. Adamantly defiant of easy genre categorization, Fresh Blood makes its mark and leaves an endearing scar that refuses to fade.

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23. Mount Eerie – Sauna

Phil Elverum has gone through many phases, shape-shifting at his leisure into whatever suits his mind at the time. One of his most celebrated ongoing projects, Mount Eerie, returned this year with the brilliant Sauna, which offers up an enveloping ambient sprawl. Gently immersive in some spots and dangerously raw in others, it’s one of Elverum’s most compelling tapestries to date.

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24. Yowler – The Offer

The Offer‘s devastating title track is one of the only standalone songs to have earned a write-up on this site so far this year. The reason? It’s not just one of the best songs of this year (so far), it’s one of the finest of the decade. “The Offer” is also, appropriately, the most representative song on Maryn Jones’ solo debut (using the Yowler moniker, at least). Cautious, frightened, anxious, and defiant, The Offer is a gut-punch of a record that occasionally nears uncomfortably voyeuristic levels. The Offer is the perfect soundtrack for sleepless nights spent in near-silence, when the only other audible sound is the rain coming down.

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25. Spectres – Dying

Rounding out this run of records is, somewhat incredibly, another shoegaze-leaning record that never diminished its brute force. Dipping into the decidedly darker realms of post-punk, Spectres managed to create a behemoth of an LP with the boldly-titled Dying. Opening with a genuinely intimidating noise collage, the band sinks its claws in and proceeds to tear away in the most feral manner possible, continuously refusing to relinquish its grasp. At points, Dying approaches black metal but never loses sight of its overall melodic sensibility. By taking stormier roads, Spectres have managed to start the year off in an impossibly blinding fashion. Listen to the sounds of Dying below.

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March 7, 2015

First Quarter Songs, Pt. 1 (Mixtape)

We’re a little more than three months into 2015 and the influx of great new material in the year’s first quarter has been astounding. It was a transitional time period for the site, with dozens of authors pitching in personal recollection pieces regarding the previous year. During that time, I also started a full-time position, disallowing a production rate as frequent as the one held throughout the entirety of 2014. However, during these opening months, I haven’t stopped listening, collecting, exploring, and thinking about every new release that I was fortunate enough to find. There are more than 250 songs, 90 full streams, and 115 music videos to cover, so- while a few will be given full features- it only made sense to bring everything up to speed via long lists of the things worth mentioning. To begin, here are 25 great songs from 2015 that deserve to be heard. Don’t let the fact that there are no accompanying descriptions short-change the value of these songs; this is the first batch of what already looks like the strongest crop of new music we’ve had in years. The track list, and embedded player, is below. Listen to these songs, pay attention to these artists, buy these records, and go to their shows. Don’t make the mistake of letting any of them pass by unnoticed.

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1. The Juliana Hatfield Three – Wood
2. Swerverdriver – Autodidact
3. Gal Pals – Here’s to the Gals
4. Chastity Belt – Time to Go Home
5. Beech Creeps – Times Be Short
6. Will Butler – Take My Side
7. Dick Diver – Tearing The Posters Down
8. Shadow Age – A Portrait of A Young Man Dying
9. The Zoltars – Sincere
10. Robot Princess – Action Park
11. Colleen Green – TV
12. Alex G – Sarah
13. Sam Cook-Parrott & Allison Crutchfield – Something About What Happens
14. Chris Weisman – Don’t Be Slow
15. Dorthia Cottrell – Oak Grove
16. Cloud Castle Lake – Glacier
17. Simon Joyner – You Got Under My Skin
18. Eaves – Spin
29. Steady Lean – Atkins
20. Shilpa Ray – Pop Song For Euthanasia
21. Rye Pines – Pessimist
22. Moon Duo – Slow Down Low
23. DOE – Basement
24. Weed – Stay in the Summer
25. LVL UP – Somebody Kill Me Please

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January 9, 2015

14 of ’14: The Best Albums of 2014

One last time for one last 2014 list: “best” is in no way an attempt to be an objective statement. The terminology is shorthand to reflect personal taste and is not to be construed as anything more. Also, for the purposes of a more personal summary in this year-end coverage period, this site’s regular restriction on first person will be lifted. In 2014, I listened to more music that was released throughout the year than any other in my life. Numbering well upwards of a thousand releases, it proved impossible to keep tracks on everything (I’m already certain a few of these lists are missing more than a few titles that I genuinely loved)- but there were a few items that were worth remembering. Below are 14 records that managed to carve their way into my esteem both instantaneously and through the process of time. Below that is what turned into the most extensive list I’ve ever assembled, one that acts as an unnecessary validation that good music is being created at an excessively high volume (all of which is hyperlinked to either a full stream or a representative portion). We’re living in a golden age for access and music continues to reap the benefits allowed by technology. In that spirit, it’s worth noting that a lot of the names included below won’t always be the most recognizable- this is due to both that volume and the fact this site’s built on a foundation that ensures bands who are marginalized will be given the consideration they deserve. So, with all of that noted, it’s time to move on to the main attraction: 14 of ’14: The Best Albums of 2014.

14. Taulard – Les Abords Du Lycée

2014’s most unexpected gem, Les Abords Du Lycée, is a mesmerizing listening that drives home taut organ/drums/vocals post-punk with a startling amount of verve. Endlessly charismatic and unpredictable, the dozen tracks on display here constantly twist and turn, never once daring to let the listener catch their breath. Mood and tempo changes abound on one of 2014’s most fearlessly unique records. Even for those who aren’t even remotely well-versed in the French language, Les Abords Du Lycée should be a thrilling listen; something like unbridled passion can always translate well enough to near the universal.

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13. La Dispute – Rooms of the House

What’s easily one of 2014’s boldest concepts roots La Dispute’s mesmerizing Rooms of the House, a record that shows La Dispute’s rapid maturation with a weary grace. Centered around a meticulously brilliant narrative device, it’s a record that stunned me on my first few listens before growing into an inescapable force of nature that refused to leave my thoughts. As bleak as anything the post-hardcore has ever produced, Rooms of the House finds its strength through focus and restraint, zeroing in on difficult topics with a keen eye and an abundance of determination. Blisteringly personal and nearly voyeuristic, it stands as one of 2014’s fiercest artistic statements.

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12. Two Inch Astronaut – Foulbrood

Two Inch Astronaut’s Foulbrood has come up more than a few times on the site over the past handful of months thanks to its casual brilliance. Wielding an enticing palette of influences ranging from Drive Like Jehu to their contemporaries in Exploding in Sound, Two Inch Astronaut managed to conjure up one of the most impressive sophomore efforts of the year. The title track, “Part of Your Scene“, and “Dead White Boy” all earned themselves individual write-ups on the basis of their appealingly off-kilter and ragged identity. Foulbrood‘s a record that knows exactly what it wants to be and goes straight for the throat, sending a trail of viscera flying it its wake.

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11. Cloud Nothings – Here and Nowhere Else

One of the things I kept coming back to throughout the course of music in 2014 was Jayson Gerycz’s drumming on this record. Not just because it’s a staggering individual performance but because there’s an undefinable, inherent quality that exists within that drumming which drives this record to obscene heights. Impossibly, stripped of the drumming, the record succeeds wildly in an acoustic setting and demonstrates Dylan Baldi’s increasing proficiency as a songwriter, a vocalist, and a guitarist. After losing a member in guitarist Joe Boyer, Cloud Nothings somehow managed to transform themselves into an act that was simultaneously heavier and poppier than when they were a quartet. Importantly, this is a record that’s built to last and it’s only grown on me as the year’s progressed (and that trend’s not showing any signs of slowing).

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10. Ought – More Than Any Other Day

As beguiling as it is bewitching, Ought’s brit-pop influenced post-punk masterpiece was a record that sounded triumphant right out of the gate. Slowly, that triumph turned to transcendence and the songs contained within More Than Any Other Day became unavoidable mission statements. In terms of scope, the majority of More Than Any Other Day feels as epic as LCD Soundsystem operating at their best. Both acts share a penchant for sprawling structures and self-containment, bridging a gap between intimacy and grandeur with a knack for deceptive, intricate songwriting. Anthemic and mundane, More Than Any Other Day was like a shot of adrenaline straight to the heart, waiting for the resuscitated with a sly grin and a memorable, tossed-off joke. Excessively charming and utterly winsome, it’s a record that felt (and still feels) necessary.

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9. Jawbreaker Reunion – Lutheran Sisterhood Gun Club

“E.M.O.”, Lutheran Sisterhood Gun Club‘s thrilling centerpiece, recently appeared in this site’s best songs of 2014 list- but the song’s only one part of a much larger picture. At once, one of the year’s most joyous and pissed off releases, Jawbreaker Reunion tore through a variety of serious issues with aplomb on their absolutely stunning debut effort. Other than distilling songs like “Laughing Alone Eating a Salad” with a wicked sense of humor, the whole affair’s imbued with an enviably powerful sense of songcraft. Lo-fi, DIY, punk, and teeming with an understanding of classic pop, Lutheran Sisterhood Gun Club was one of 2014’s boldest introductions- it was also one of its best.

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8. PURPLE 7 – Jewel Finger

PURPLE 7 boasts a lineup that’s accompanied by an impressive pedigree. Members of the band have previously played in bands like Defiance, Ohio, Landlord, and Hot New Mexicans (whose self-titled record ranks among my all-time favorites and currently leads my “best of decade” selections). Unsurprisingly, their debut LP effort hits a lot of sweet spots, including a gritty middle point between basement punk and basement pop. Simply put, this is a stunning collection of songs that was overlooked by most to a baffling degree after its release. Grounded, humble, and heartfelt, Jewel Finger is one of the records that reminds me of the reasons I started this site. This is music that deserves to be celebrated.

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7. Angel Olsen – Burn Your Fire For No Witness

Arguably 2014’s first truly great release, Angel Olsen’s Burn Your Fire For No Witness saw the songwriter transition from a promising talent into one of the year’s most arresting figures. Embracing a fuller sound and a newfound confidence, Burn Your Fire For No Witness broke Angel Olsen’s career wide open with an onslaught of genuinely haunting tunes. Whether they were relentlessly spare or soaked in noir-ish tendencies, they were uniformly captivating; both the storm and the eerie silence before. Raw, tender, and occasionally antagonistic, Burn Your Fire For No Witness was one thing above all else: unforgettable.

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6. Cymbals Eat Guitars – LOSE

From the devastating opening lines all the way through to the climactic finish, LOSE holds its ground as one 2014’s most frighteningly personal albums. Largely influenced by the death of a friend close to the band, it’s a meditation on loss and the surrounding aspects of something so tragic. Easily Cymbals Eat Guitars’ finest work to date both lyrically and musically, it’s a powerful (and powerfully moving) listen. “Warning”, in particular, cuts deep- which is one of the reasons why it wound up on the best songs of 2014 list just a few days ago. Incredibly impassioned and brave in its sincerity, LOSE finds a level of catharsis in its emotional turbulence, lending it a charge that renders it one of the year’s most human (and most important) releases.

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5. Perfect Pussy – Say Yes To Love

Perfect Pussy, for better or worse, have become intrinsically linked with this site. From Meredith Graves’ insistence on tangential involvement (which I’ll forever be grateful for) to the fact that the band’s greater ascension matched up with the very start of this site, they’re a band I’ve gone step for step with since bringing Heartbreaking Bravery into existence. None of that would have happened if I hadn’t been so fiercely drawn to the things that they were doing, though, which is why I approached them in the first place. Ever since those beginnings, it’s been a privilege to watch them progress, to travel at lengths to watch them play, and to see them release a record as enormously powerful as Say Yes To Love, a collection which houses my favorite song of 2014 (and possibly of this decade so far). Unapologetic, personal, damaged, resilient, powerful, feral, oddly triumphant, and unbelievably intense, Say Yes To Love operates as a perfect reminder for all of the reasons why I fell in love with this band- and why I’ll continue to pay close attention to their movements.

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4. Iceage – Plowing Into The Field of Love

No band in 2014 made a more stunning artistic leap than Iceage, who went from a static blur to matching the swaggering heights of Nick Cave & the Bad Seeds after discovering their voice. Plowing Into The Field Of Love was a startlingly radical change of pace for Iceage, who imbue the record with a curious restraint and a sense of deeply haunted Americana. Southern Gothic touch points are littered throughout the record’s bleak landscape, while making room for plaintive ornamentation in the form of brass, string, and piano figures. Darker and more self-aware than anything in the band’s career, Plowing Into The Field Of Love earned them quite a few words of praise from this very site. Augmented by some legitimately extraordinary music videos, Plowing Into The Field Of Love proved to be an unexpectedly rattling experience. Easily one of the year’s most divisive records (as is the case with any left turns this sharp), it suggested Iceage’s ambitions ran way deeper than anyone expected and, subsequently, that they had the know-how to see those ambitions to fruition. In chasing their whimsy they wound up with something I wouldn’t fault anyone for calling a masterpiece.

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3. Mitski – Bury Me At Makeout Creek

My connection with Mitski’s music is something that will always hold a very personal resonance. I’ll leave most of the reasoning behind that statement to a forthcoming piece but it’s worth noting in regards to a record that’s so unabashedly self-exploratory. Bury Me At Makeout Creek was an enthralling re-introduction for Mitski, who saw it rightfully skyrocket her name recognition. Top to bottom, it’s an extraordinary effort that re-defined her artistic capabilities after a string of meticulously composed records that leaned on chamber pop tendencies. Here, that past gets blown to bits almost immediately. One of my favorite experiences in music listening all year came when “Texas Reznikoff” explodes in its final section- another came while listening to one of the best songs I’ve heard this decade (for obvious reasons, considering that statement). Where Bury Me At Makeout Creek manages to approach the transcendental is in the process of allowing listeners to hear an artist coming into their own. Part of Mitski’s identity is laid bare by Bury Me At Makeout Creek: it’s the unwillingness to accept identity as a static object and the desire to question its cumulative elements. That search is what gives Bury Me At Makeout Creek its bruised heart- and it’s why musicians will use it as a source of inspiration for several years to come.

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2. Radiator Hospital – Torch Song

After the exhilarating highs of Something Wild, Radiator Hospital had a tall order for their follow-up. Fortunately (and unsurprisingly), they obliterated those towering expectations with Torch Song. Sounding more confident- and more polished- than ever before, Torch Song cemented Sam Cook-Parrott’s status as one of this generation’s keenest emerging voices. Paying attention to the minutiae of everyday experiences and injecting them with a self-deprecating sense of poetry laced with pessimism, the songs contained on this record all aim to cut and find their mark with an incredible amount of ease. Having already established themselves as one of today’s more formidable units musically, Torch Song has the added benefit of having four loaded personalities find each other in total harmony, each acting as a complement to the other. Personal diatribes, small journeys of self-discovery, and a sense of empathy inform Torch Song and help cultivate its unassuming charm. There’s not a weak track among the record’s 15 songs and it maintains an assured sense of pace throughout its relatively breezy runtime. By the time it draws to a close, it stands as one of the most fully-formed and rewarding records of recent memory.

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1. LVL UP – Hoodwink’d

I don’t think any record resonated more for me throughout the course of 2014 than LVL UP’s Hoodwink’d, which I revered with literally no reservations. 2014’s strongest sophomore effort, Hoodwink’d saw LVL UP expanding most of the elements that made Space Brothers such an incredible release and retained all the others. Unreasonably refined and exceedingly personable, LVL UP have always found a strength in accentuating their members’ unique personalities and that trend got pushed to the forefront for their second full-length (which was co-released by Double Double Whammy and Exploding in Sound). Utilizing a distinctly unique take on their 90’s influences, the band also reveled in the benefits of a cleaner production that allowed them to sound more massive than they ever have in the past. No release felt more timely than Hoodwink’d, either, with the record practically serving as a stand-in voice for a disenfranchised sect of people. Alternately crushingly heavy, viciously poppy, relentlessly personal, and completely worn-out, Hoodwink’d never loses sight of its own mechanics. There’s a level of mutual understanding on display here that separates it from the rest of the year’s releases. Everyone feeds off each other, everyone supports each other, and everyone contributes to one hell of a set without even coming close to overstaying their welcome. Conversely, Hoodwink’d also ranks as one of the year’s most welcoming releases, radiating an empathetic warmth in its tone (and in its tones). As an entry in LVL UP’s catalog, it’s their career best. As a general 2014 release, it’s the best thing I had the privilege of hearing all year.

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[EDITOR’S NOTE: All of the titles below without an accompanying link can be streamed in the order they’re listed via the embedded spotifly player below the list.]

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24 Comments

January 6, 2015

14 of ’14: The Best Songs of 2014

While this may not be necessary at this point since it keeps being repeated, it’s worth stating anyway: “best”, in matters of year-end lists, isn’t made to be an objective statement- it’s a reflection of personal taste. For the year-end coverage period, I’ll also be abandoning the usual first person restrictions as another effort to further personalize these accounts and lists. In 2014, I listened to more music than I’ve ever listened to in my life. During that 365-day span, I mercilessly stalked a rotating cast of sites that posted new music on a near-daily basis. I kept up with NPR’s First Listen series, scoured bands’ schedules to see what other bands were on their shows, kept tabs on bills at venues I admired, and listened to every submission that was sent in to Heartbreaking Bravery. If a friend recommended me new music, I made sure it got heard. There were times when some larger fare would pull me in- especially if it was receiving good critical returns- but, for the most part, I made it a point to explore the smaller titles.

A few of the names on this list (and all of the others) may not necessarily be the most recognizable but don’t let the lack of recognition dissuade you from investment; let it actively encourage dividend-paying exploration. It was that decision to zero in on lesser known bands that started opening up endless hallways to music that may have otherwise stayed hidden. That’s the foundation that this site was built in and will always strive to encourage- which is part of the reason why these lists exist. Below are the 14 songs that hit me hardest throughout the past 12 months, rounded out by a top four that all deserve to be in the “Song of the Decade” conversation. I won’t be including an auxiliary list for the songs that were in consideration and didn’t make the cut this time around because, frankly, there are way too many (though I will say it’s still paining me to not be including Ought‘s “Today More Than Any Other Day“) and most of those selections’ respective titles are featured on the other lists that this site will be running (or has already run). Now that all that’s said and done, on to the list!

14. Cloud Nothings – I’m Not Part of Me

“I’m Not Part of Me” has been making a dent in this site’s coverage ever since Cloud Nothings teased Here and Nowhere Else at Baby’s All Right. It’s in the realm of career best for a band who’s on their second destined-to-be-classic release. After the departure of Joe Boyer, it’s unlikely that anyone was expecting the band to grow even fiercer- yet, that’s exactly what they achieved. With melodic aplomb and hooks to spare (in addition to 2014’s finest individual turn-in from drummer Jayson Gerycz), the band responded by annihilating any of the barriers that transition left, with “I’m Not Part of Me” acting as their rousing call to arms.

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13. Iceage – Against the Moon

Before “Against the Moon” was given one of the best music videos of the year, it was lingering on the outskirts of one of 2014’s most powerful albums: Plowing Into The Field Of Love. No song underlined Iceage’s startling transition with more emphasis than this somber piano and organ-driven ballad. Quietly intense and relentlessly haunting, “Against the Moon” became an immediate standout on an impossibly gripping record. It’s an entirely new look for Iceage, who embraced it fearlessly. Elias Bender Rønnenfelt’s lyrics, now laced with a noticeable Southern Gothic Americana influence, acted as the perfect complement to a spare, boldly atmospheric track- which was easily one of the year’s strongest efforts.

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12. Band Practice – Bartending At Silent Barn

Make Nice was one of the last truly great releases of 2014 but no moment on the record was as stunning as “Bartending At Silent Barn“. I’d known of Jeanette Wall through her involvement in Miscreant Records but nothing had prepared me for how effortlessly bracing her own songs could be. “Bartending At Silent Barn” starts out simply enough; clean, palm-muted guitar, a memorable melody, raz0r-sharp lyrics, and an immediately recognizable sense of identity. While it revels in defeatism for close to the entirety of its run, there comes a moment towards the end- a single laugh- that offers a pivotal change. In that laugh (which lasts less than a second), there’s a derision targeting the assumptions that everything’s as bleak as the song’s original narrative suggests but, after a very brief pause, the assuaging declaration that “things can change” comes to a stunning fruition with one of the most life-affirming outro sections I’ve ever heard.

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11. Charly Bliss – Love Me

There are times where all it can take is one song for me to be absolutely convinced by a band. “Love Me”, a song that was also my introduction to Charly Bliss, is definitely that kind of song. With an endless amount of charm and appeal, Charly Bliss conjured up a firestorm of a tune that immediately catapulted them into “new favorite band” territory. The tempo changes and stop/start dynamics in the jaw-dropping pre-chorus and chorus sections practically lay everything on the line; for the first time in a while, it sounds like a (relatively) new band is actively daring their listeners to get on their level. In terms of sound and genre, it’s a perfect bridge between basement pop and basement punk, existing in the dead center of the exact space that this site most frequently celebrates. Fiery, propulsive, and casually tantalizing, it’s easily one of my favorite things to emerge from an incredibly stacked year. Most impressively is that “Urge to Purge“, the song that follows it on the band’s extraordinary Soft Serve EP, was its biggest competition in securing a spot on this list- cementing 2014 as a statement year for one of the most exciting bands today.

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10. Screaming Females – Wishing Well

Screaming Females have earned their fair share of coverage on this site by being so consistently excellent in their craft. They’re a band I’ve been keeping an eye on since I started playing shows in basements (a few of their BFG shows are among my favorite WI-based memories) and they haven’t stopped getting better in the years I’ve been following their progress. All of the years they’ve put into fierce touring (never once losing their DIY ethos) have been leading up to the release of their upcoming Rose Mountain, a surefire contender for 2015 Album of the Year. Currently 3 preview songs into the lead-up phase for the record’s release, none have been as powerful as the first official recording of “Wishing Well”, a perennial staple in their live set. Striking a perfect balance between punk grit and an uncharacteristically light pop sensibility, “Wishing Well” is ample proof of the band’s growing ambition and unwavering confidence. It’s also got a chorus for the ages, one even someone’s grandma could love.

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9. Jawbreaker Reunion – E.M.O.

Lutheran Sisterhood Gun Club was one of 2014’s most unexpected surprises; a debut effort loaded with determination and personality. Up until “E.M.O.”, it’s an incredibly strong record but that song single-handedly breaks the floodgates wide open and elevates it to the heights of an unforgettable classic. It’s a song that hit me hard on my first listen and hasn’t left my thoughts- or my esteem- since that initial exposure. Easily the most vulnerable moment on a record that’s frequently on the offensive, it offers a voyeuristic glimpse of the mechanics driving Jawbreaker Reunion’s creative forces. “E.M.O.” also has an unexpectedly explosive chorus that lays waste to any harbored doubts about the band’s range. It’s one of the year’s more breathtaking musical moments and it ensures Jawbreaker Reunion’s status as an emerging force.

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8. LVL UP – Big Snow

The four-song split between LVL UP, Ovlov, Krill, and Radiator Hospital would have likely topped this site’s best splits of the year list even if it hadn’t been grouped in with Ovlov’s other entries. A large reason behind that it LVL UP‘s “Big Snow”, a song that managed to stand out in the band’s catalog even taking the landmark achievement that was Hoodwink’d into account. “Big Snow“, the rare LVL UP song that features all three vocalists in the group, has been kicked around in some form or another since the band was writing demos for their debut full-length, Space Brothers. In its first release as “Big Snow”, though, it’s a stunner of a track, highlighted by the vocal exchanges and one of the year’s most blistering riffs. Everything lines up in a typically (compellingly) off-kilter way that accentuates the band’s innumerable rough-hewn charms. Constantly shifting and casually brilliant, it’s yet another indicator that LVL UP is one of the best bands currently making music.

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7. Little Big League – Year of the Sunhouse

Another song to appear on a split with Ovlov (it’s literally impossible for me to overstate how incredible Ovlov’s splits were this year), “Year of the Sunhouse” was a career highlight for Little Big League, even taking their outstanding Tropical Jinx into consideration. It’s a song that stunned in a Watch This-approved segment and it’s only grown more appealing with time. Punchy and refined, it takes pinpoint aim and unloads, hitting an elusive target multiple times over. Led by powerhouse drumming and Michelle Zauner’s most ferocious lyrical and vocal outing to date, it’s a song that portrays Little Big League as a band who refuses to back down. As an additional bonus, it also features a second stanza that may very well be the year’s outright best, one that’s punctuated by a life-giving declaration.

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6. Cymbals Eat Guitars – Warning

It’s sincerely doubtful that there was a record in 2014 that was more emotionally charged than Cymbal Eat Gutars’ LOSE, which dealt heavily with the death of a friend. The way that difficult subject’s dealt with is a large part of the reason why the song and it’s accompanying music video earned so many kind words, which also factored into its placement as one of the best music videos of the year. Devastatingly heartfelt and heartbreaking in its vicious nature, it’s propped up by the year’s best single line in the chorus’ “the shape of true love is terrifying enough”. For all of the difficulties, there’s a subtle strain of hope that imbues “Warning”, rendering it a resounding statement of humanism. Deeply tragic and towering in scope, this is the kind of song that’s worthy of inspiring others to start making music on their own terms.

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5. Radiator Hospital – Cut Your Bangs

“Cut Your Bangs” is a song that’s been kicking around on this site since its original bandcamp release. My personal pick for song of the summer, it’s an exacting look at the way Sam Cook-Parrott’s sense of damaged romanticism manifests in Radiator Hospital’s music. There’s an emphasis on the minutiae, every mundane bit is scrutinized and brought to the forefront. Poetic and unflinchingly honest, it’s put in sharp contrast by the music surrounding the story. There’s a swing-like feel to what’s happening in the background, lilting into a reassuring groove as the narrative grapples with everyday loss. Small lies add up to a mountain of mistrust but, if you’re lucky, your friends will always be there to back you up and convince you that everything’s okay.

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4. Speedy Ortiz – Doomsday

Very few songs have ever hit me as hard as “Doomsday”. It’s a personal best for Speedy Ortiz, which is no small claim, and very few songs this decade have come across so honestly. Sadie Dupuis’ vocal take for “Doomsday” is absolutely stunning, wounded and impassioned in equal measure; a desperate and veiled final cry searching for some form of absolution. An impossibly beautiful vocal melody and an atmospheric guitar section are subtly fierce grace notes in a song that sounds embattled and defeated. Released as part of the LAMC series (courtesy of Famous Class Records), it would have been more than enough to land the entry it was included on in the best splits of the year list. Weary and grasping at a sense of triumph, it’s a fascinating classic that deserves to be heard by anyone with even a passing interest in music.

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3. Mitski – Townie

My relationship with Mitski’s music began with this song and that first listen remains one of my more memorable encounters with anyone’s music in 2014. Since then I’ve been fortunate enough to film it twice: once in an intimate acoustic setting (for The Media) and once full-band (with Mitski backed by half of LVL UP). Even putting those personal moments aside, “Townie” was an immediate standout from what turned out to be one of the year’s strongest albums, Bury Me At Makeout Creek. For those who were fortunate enough to be aware of Mitski’s previous work, “Townie” was a sharp left turn for the enigmatic solo artist and it emphasized a growing certainty in her work. This was a hold-no-prisoners, everything out in the open type of track; a watershed moment for an artist whose career was set to skyrocket. By the time the theremin solo kicks in, everything’s already been set on fire and Mitski’s grinning to herself miles away from the maelstrom. A testament to self-reliance and utter conviction, “Townie” is a clarion call from an artist too important to be ignored.

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2. Pile – Special Snowflakes

Pile’s Special Snowflakes 7″ just topped this site’s list for that category. No 7″ had a stronger single song A-side and no song managed to sink into my memory more than that song, “Special Snowflakes“. Pile have cultivated a cult following by refusing to adhere towards any one trend or another and instead opting to follow their own distinctly unique twists and turns. No song felt as monumental in 2014 as the band’s current crowning jewel, a seven minute battering ram of a track. Through a series of exhilarating peaks and crushing valleys, Pile manages to introduce an atmosphere that’s ferociously bleak, refusing to settle into one mode for too long. Pulverizing and epic, “Special Snowflakes” suggests that Pile’s operating at the height of their powers, which bodes well for their forthcoming full-length. It’s also another release that embodies everything great about Exploding in Sound Records and the vast number of reasons the label’s so frequently celebrated here. This is bold, inventive music that thrives on its own conviction, on its own terms, and will be remembered for leaving a trail of well-intentioned destruction in its wake.

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1. Perfect Pussy – Interference Fits

No band has been written about more on Heartbreaking Bravery than Perfect Pussy (a band I traveled considerable lengths to see eight times throughout the course of 2014). No song has meant more to me than “Interference Fits”. Putting aside the fact that vocalist Meredith Graves (who has somehow become this site’s patron saint and is still its sole interview subject) unexpectedly dedicated this song to me in Minneapolis, putting aside the fact that she cried in a comic book store after I alerted her to the fact that it had started streaming on NPR in advance of Say Yes to Love‘s release, and putting aside the fact that she used my original write-up as a reference point for hope, that statement would still hold true. “Interference Fits” soundtracked a lot of bigger moments for me in what was a very turbulent 2014 and the original connection I forged with the song only deepened as the year progressed. Fitting, since it’s a song about making and severing connections; Graves’ most personal outpouring to date. The lyrics, as always, are beyond stunning but the song wouldn’t be anywhere close to as unshakable as it is if it weren’t for Perfect Pussy’s most adventurous musical turn-in to date. Eschewing their normally blown-out mode in favor of something more subtle and restrained, “Interference Fits” proved that Perfect Pussy weren’t, as some naysayers originally suggested, a one trick pony. Easily the band’s most delicate and ornate offering to date, it retained their whirlwind intensity and cutthroat identity. Masterfully wielding a tension and explosion dynamic, “Interference Fits” lures listeners in with its first half before a measure of silence provides a foreboding warning to one of the most cathartic second acts in a song this decade; there’s as much narrative in the music as there is in the lyric set. With raw power lingering in the wings and at the heart of its diarist leader, Perfect Pussy created something that stung deep enough to leave a lasting, curiously endearing scar.

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December 29, 2014

14 of ’14: The Best Splits of 2014

Once again, it feels necessary to start with a (likely unnecessary) disclaimer about the word “best” when it comes to year-end posts. “Best”, in nearly every case, is just shorthand for “most admired”, it’s not a stab at a definitive statement; in these kinds of rankings there’s no room for any perceived objectivity. Another quick note before diving into this list in earnest; for all year-end coverage, the first person narrative restriction that’s usually implemented here will be dropped to allow me to speak on a more personal level, as these are the released that affected me personally and reflect my own personal tastes. 2014 was a fairly strong year for split releases, which are experiencing a new level of exposure thanks to the renewed interest in cassettes and vinyl, as those are the two formats they’re on most frequently. There were two, three, and four band splits released over the past 12 months that ranked among my favorite releases in any format. As holds true for every year, not everything can be listened to (I’m sure something like the extremely limited-run Florist/Eskimeaux tape is incredible but I came to it too late to snag a copy) Labels have been rallying around these releases particularly hard, in part because there’s an allowance for collaboration with other like-minded labels that isn’t always possible with standard single-band releases. From bands covering each other on flip sides of the same tape to bands trading off places throughout a release to a few of the year’s best songs, there’s a lot to explore in the list below- a list that cheats the “14” rule ever so slightly with the rules being bent for the top two spots (it just didn’t seem fair to have two bands being responsible for four of the top five spots). Dive on in and hear 14(+) of the splits that deserve homes in as many collections as possible.

[EDITOR’S NOTE: A few of the releases included below are set to autoplay in weird parts of these releases so keep an eye out and listen to each in full.]

14. Adult Mom / Cyberbully Mom Club / i tried to run away when i was 6 (but got too scared to cross the street)

Cyberbully Mom Club quietly put together one of the most impressive runs of genuinely great releases this year and this split- with Adult Mom (who also had a pretty great year) and i tried to run away when i was 6 (but got too scared to cross the street)– still managed to be a standout effort. As spellbinding as it sincere, it’s a record worth keeping around for a very long while.

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13. Big Ups / Washer

Big Ups are easily one of the most exciting bands of today and they keep pushing themselves to go further with each subsequent release. On this split with Washer, both bands give it their all and wind up with one of the stronger short entries in Exploding in Sound’s ridiculously impressive 2014 catalog.

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12. Dikembe / The Jazz June

A resurgent The Jazz June came out of a 12 year absence with their best song to date (and one of the catchiest chorus hooks of the year) and had it paired with an up-and-coming band that shared some of their best qualities. Between the two songs on display here, the split the two bands released felt more complete and unified than a lot of bands’ own full-lengths.

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11. Joyce Manor / Toys That Kill

Never Hungover Again earned Joyce Manor typically strong critical returns but it was their split with outsider punk perennials Toys That Kill that hit hardest. Each of the four songs included in this split feature both bands at their absolute best; tinkering with the lines that separate punk from pop with an exacting, exhilarating precision.

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10. Dog / Big Neck Police

Damaged. Delirious. Dangerous. Terrifying. Four words that could all aptly describe the relentlessly aggressive bleakness of this split between Dog and Big Neck Police. Seven songs that offer the perfect descent into complete and total chaos while flirting with tension dynamics to create a genuinely pulverizing effect.

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9. Big Eyes / Post Teens

Big Eyes have been releasing incredible material ever since their demo so it’s no surprise that this split with Post Teens (who also had an excellent split with Rose Cross this year) fought its way into this list. Pairing with Post Teens proved to be surprisingly sensible as both bands like to go full-force as much as possible and- more often than not (this split being one example)- wind up with rousing results.

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8. Trust Fund / Lone Omi / Something

Utilizing a little-used tactic can create intrigue pretty instantaneously and the decision to alternate bands throughout this six song set- formally titled Sick of Hits Vol. 2- is something that pays off beautifully. Reeks of Effort is a label that’s built its name around bands that challenge the conception of twee; any time there’s a danger of things becoming overtly whimsical they get cut to shreds by barbed wire. It’s a dynamic that makes Reeks of Effort’s roster- and Sick of Hits Vol. 2– worth celebrating.

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7. Speedy Ortiz / Chris Weisman

“Doomsday” isn’t just one of the best songs of this year, it’s arguably the best of Speedy Ortiz’s career (and possibly even one of the best of the decade). That song alone would have been strong enough to land this release- the best of the laudable LAMC series to date- a spot on this list. Fortunately, it’s backed by a beautifully plaintive song from Chris Weisman (whose Monet in the 90’s was one of this year’s hidden gems) that somehow holds its own as the flipside to such a powerful song. Together, they make for the year’s best two-song release.

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6. Girlpool / Slutever

I haven’t made even the slightest effort to hide my love of Girlpool, a young duo that embodies things which make them worth rallying behind. Here, Cleo Tucker and Harmony Tividad cover their friends in Slutever (who return the favor) while contributing two arresting originals. While Slutever haven’t quite enjoyed Girlpool’s level of exposure, they stepped up to the plate for this split and connected hard enough to create what should be some long-lasting repercussions. Fierce and unapologetic, it’s definitive proof that neither band’s going to be backing down anytime soon.

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5. Bad History Month / Dust From 1000 Years

“Staring At My Hands” is a song that’s come to mean quite a lot to me over the past few months and it’s the strongest moment on this split cassette/split LP from Bad History Month (formerly Fat History Month/Sad History Month) and Dust From 1000 Years. That’s not to downplay any of the others; this is a genuinely mesmerizing release at every turn. Willfully left-field and wrapped in the same cloth, it reverberates long after the final notes of the hazily elegiac “Party Song”.

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4. Mannequin Pussy / Dog Legs

One of the year’s most unexpectedly incendiary releases, this weird anomaly (it can- somehow- rightfully be called both a split and an EP compilation) was a sharp, glancing punch to the face. Teeth get bared, sharpened fingernails get flashed, and fists get clenched ten times over. Mannequin Pussy and Dog Legs both turn things up to 11 and advance their agendas with brute force. Immediate, engaging, and intimidatingly powerful, it easily ranks among 2014’s finest releases. During the split’s limited release run it also came with the added bonus of a 16 page zine featuring artwork from both acts.

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3. Whirr / Nothing

Both Whirr and Nothing, two of the biggest names in today’s crop of shoegaze-heavy bands, released full-lengths this year. While both of those releases were well worth spending time on, it wasn’t until they came together that they made something extraordinary. Every song on this split ranks in the realms of career-best for both acts, as if they were all successive dares rooted in incredibly formidable one-upmanship. At four songs, this managed to stand out as one of 2014’s most impressively towering releases; the scope and depth of each song is a complete shock because of how expansive they manage to become without ever tipping into the comically bombastic. An extraordinary effort from two bands that sound incredible together (which is unsurprising, considering they share at least one member) and completely revitalized in such a contained setting.

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2. Joanna Gruesome (Joanna Gruesome / Perfect Pussy, Joanna Gruesome / Trust Fund, Joanna Gruesome / Tyrannosaurus Dead)

In 2014, there were two bands that aimed for the fences and went way beyond when it came to split releases. Joanna Gruesome was one of them. It would have been much more of a nightmare for the rankings between these two had Joanna Gruesome’s split with Tyrannosaurs Dead included a new song rather than one of Weird Sister‘s many highlights. Between their extraordinary Astonishing Adventures split with site favorites Perfect Pussy (whose contributions were as dazzling as anything they’ve done) and their split EP with site favorites Trust Fund, they were responsible for half of two of the year’s finest releases- and what halves they were. “Psykick Espionage”, “Jerome (Liar)”, “…And Keep on Reaching for Those Stars”, “Reading the Wrappers”, “No Pressure”, “Scared”. Six songs that would have made up one of the best EP’s of any of the past 10 years or more. Joanna Gruesome are quickly turning into an unstoppable force of nature and pretty soon there are only going to be two options: get caught up in their spell or get the hell out of their way.

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1. Ovlov (Ovlov / Little Big League, Krill / LVL UP / Ovlov / Radiator Hospital, Ex-Breathers / Ovlov / Gnarwhal / Woozy)

If any band had a more impressive year with splits than Joanna Gruesome, it was Ovlov. Turning in some of the year’s best songs (“The Great Crocodile” and “Ohmu’s Shell”, respectively) on the year’s best four-band split and what was easily one of 2014’s best two-band splits (with Little Big League’s “Year of the Sunhouse” also registering as one of 2014’s strongest highlights) is no small feat. Their contribution to their split with Gnarwhal, Woozy, and Ex-Breathers was that release’s strongest moment- they had a lot more competition from Krill, LVL UP (“Big Snow” being yet another year-end worthy highlight on its own accord), and Radiator Hospital (though both still would have earned a spot somewhere on this list had it been kept to individual releases). Ovlov’s songs- much like the songs on display in the Whirr/Nothing split- are absolute monsters, showcasing the band’s range in a breathtaking display of power. Should any of these songs be good indicators for the full-length Ovlov is ramping up to, then we’re in for some serious fireworks whenever it drops. For now, this small collection of songs is more than enough to tide anyone over until- and then well past- that album’s release.

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December 24, 2014

2014: A Pictorial Review, Pt. 5

Those were just a few of reasons that went into the decision behind a headfirst dive into photography investment (on both a personal and public level) and factored into why one camera or another was brought along to every show this site covered in the past year. Now, with 2015 just around the corner, seemed like as good a time as any to showcase a few photographs from the past 12 months that stood out as personal favorites. Since there are a few too many to go up all at once, they’ll be posted at random as part of installments that will run from now to the start of January. Most of these shots have been published on the site before (or on The Media), though there are a few that will be appearing for the first time.

Pt. 5 will be the final installment of this series and the preceding galleries can be accessed via the links directly below. Enjoy!

2014: A Pictorial Review, Pt. 1
2014: A Pictorial Review, Pt. 2
2014: A Pictorial Review, Pt. 3
2014: A Pictorial Review, Pt. 4

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December 20, 2014

2014: A Pictorial Review, Pt. 4

One thing that this site has strived to maintain is its own visual aesthetic. While it’d be impossible to find a photo in the archives for every given band that headlines a post, an original photo will be posted anytime the opportunity presents itself. Upgrading cameras halfway through the year provided a bevvy of new opportunities and the subsequent implementation of a more photo-centric presence. That’s not by mistake. Photography (especially event photography) has always been an important crux of multimedia journalism. It can be a way to implicitly (or explicitly) convey some of the more minute details of a singular moment to a reader- or it can simply act as an intriguing supplement. Those were just a few of reasons that went into the decision behind a headfirst dive into photography investment (on both a personal and public level) and factored into why one camera or another was brought along to every show this site covered in the past year. Now, with 2015 just around the corner, seemed like as good a time as any to showcase a few photographs from the past 12 months that stood out as personal favorites. Since there are a few too many to go up all at once, they’ll be posted at random as part of installments that will run from now to the start of January. Most of these shots have been published on the site before (or on The Media), though there are a few that will be appearing for the first time. Enjoy!

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December 15, 2014

Watch This: Vol. 61

[Please refer to Vol. 59 for the introductory paragraph.]

1. LVL UP – If I Leave (WDBM)

Hoodwink’d was easily one of 2014’s most brilliant records. LVL UP managed to conjure up a stunning combination of unfiltered personality, natural charisma, an obscene level of synergy, and a thrilling collection of individual songs that worked as well as a whole as they did on their own. All of it resulting in a career-best effort that turned more than a few heads. WDBM recently had them in studio and produced a beautiful, low-key live clip for Hoodwink’d‘s penultimate track, “If I Stay”.

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2. Girlpool – Cut Your Bangs (NME)

Two things this site hasn’t shied away from expressing serious amounts of love for: Girlpool and Radiator Hospital’s “Cut Your Bangs“. So, when Girlpool stepped up and unveiled an arresting reworking of “Cut Your Bangs”- which was lensed gorgeously by NME- it’s appearance on a Watch This was a foregone conclusion. An endearingly sweet moment was made even sweeter when Radiator Hospital’s Sam Cook-Parrott responded in kind and turned this into one of the year’s most heartening exchanges.

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3. The Dirty Nil – Cinnamon (Exclaim!)

Canadian punk stalwarts The Dirty Nil have been kicking away ferociously for as long as they’ve existed and now, after the band took off at full sprint, the rest of the world’s finally starting to catch up. Exclaim! caught them absolutely ripping through a very impassioned take on “Cinnamon” at The Horseshoe Tavern in Toronto. It’s a fierce performance that subtly demonstrates the band’s hunger for bigger and better things.

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4. Mitski – Townie (Don Giovanni Records)

At this point, it’s hard to know where to start when discussing Mitski. The young songwriter’s sudden emergence? Age? One of 2014’s most stunning albums? Innate and immeasurable talent? The absolute perfection of “Townie“? It really doesn’t matter; pick a point of reference and it kickstarts an avalanche of jaw-dropping material and one of music’s most promising talents. Full band or solo, Mitski is an absolute force of nature. Here, Don Giovanni captures Mitski giving a characteristically powerful (and candlelit) performance of one of the best songs to have come out of the past few years.

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5. La Sera – Running Wild (Last Call With Carson Daly)

Over the course of the shows past few seasons Last Call With Carson Daly has started to emerge as the network television late-night show most attuned to this site’s most frequently covered genres. Even just scrolling through some of the shows most recent performances and featured artists, it’s hard not to gape a little: Shannon & the Clams, Meatbodies, Dum Dum Girls, King Tuff, Bleached, and The So So Glos all make appearances. Even in such formidable company, the session the show hosted with La Sera wound up being one of their most memorable moments in recent memory. It’s precisely why this will be the first of three Watch This installments to feature a song from that showcase. Up first: a particularly fiery take on “Running Wild”.

[Due to some technical issues, this video can only currently be seen here.]

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Heartbreaking Bravery

Tag: LVL UP

April 2, 2015

Downies – Widow (Stream)

March 17, 2015

First Quarter Clips, Pt. 3 (Video Mixtape)

March 12, 2015

First Quarter Full Streams, Pt. 2

December 29, 2014

14 of ’14: The Best Splits of 2014

December 24, 2014

2014: A Pictorial Review, Pt. 5

December 15, 2014

Watch This: Vol. 61