Heartbreaking Bravery

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Tag: Mike Adams at His Honest Weight

Mock Orange – Put the Kid on the Sleepy Horse (Album Review)

mockorange

Over the past several days a handful of great full streams have surfaced from the likes of Cat Be Damned, Mike Adams At His Honest Weight, The Hotelier, Boys, Swanning, Supermoon, Wave ActionMagic Potion, Dead Waves, 50 Foot Wave, and Winston Hightower, in addition to an incredible four-way split between Pet Cemetery, Henoheno, Brittle Brian, and Francie Cool. While all of those have significant merit, none of them were as unexpected as Mock Orange’s tremendous new effort, Put the Kid on the Sleepy Horse.

From the onset of Put the Kid on the Sleepy Horse it’s clear that Mock Orange have expanded their ambition, tightened their grasp on dynamics, and honed the most compelling aspects of their craft. The record opens with the slow crescendo of the intro section of “I’m Leaving”, essentially providing a microcosm of the band’s intelligence (and penchant for subtle, tongue-in-cheek humor) right off the bat.

What follows is a cavalcade of riff-laden, punk-leaning, left field basement pop. Ultra-melodic and unflinchingly weird, Put the Kid on the Sleepy Horse draws an incredible amount of strength from it’s self-assuredness in its own singular nature. Mock Orange have all but perfected a sound that’s indebted to a strain of ’90s alt. bands that have remained relatively unmined in the crowded field of emergent bands taking cues from that decade.

Bright tones and a propulsive energy define Put the Kid on the Sleepy Horse even in its darkest moments, like on the bruising “Window”, imbuing the whole affair with a lively feeling that’s difficult to shake. The record rarely dips below mid-tempo, contenting itself with an operative mode that attacks far more frequently than it withdraws. “Some Say”, which arrives around the record’s halfway point, is as close to a ballad that Put the Kid on the Sleepy Horse has to offer but still comes across as more outwardly aggressive than vulnerable.

“Intake” and “Tell Me Your Story” constitute the explosive 1-2 punch that closes Put the Kid on the Sleepy Horse and betray the band’s debt of influence to Dinosaur Jr more than any of the eight preceding tracks. They’re gruff, bruised, gnarled slices of basement pop (in the case of the former) and basement punk (in the case of the latter) that show the band’s breadth of range in a dizzying sequence that puts the final punctuation mark on a great chapter in the band’s history. Put the Kid on the Sleepy Horse is the best the band’s ever been and promises great things for their future. I, for one, look forward to the ride.

Listen to Put the Kid on the Sleepy Horse below and pick it up from the band here.

What A Difference A Month Makes (Streams)

As was discussed in the preceding two posts, there’s been a serious lull of inaction on this site as of late as far as posting is concerned. A large reason for that was the fact that the majority of that coverage gap was spent traveling thousands of miles to document sets from bands like Oops, Dilly Dally, Yowler, Eskimeaux, Frankie Cosmos, Beach Slang, Potty Mouth, Dyke Drama, PWR BTTM, and more.

The resulting documentation will be posted at some point in the near future but the hefty amount of visual content (not to mention the act of traveling itself) necessitated a publishing break. However, as usual, every new piece of incoming information was accounted for in the interim. Full streams and music videos have already been covered so it’s time that the attention was turned towards individual songs.

A list of some of the finest new tunes to have emerged over the past month can be found below. Since there are so many, it may be best to bookmark this page and explore its contents at a more leisurely pace to avoid being overwhelmed. Jump on in and go swimming.

Basketball Shorts, Mikey Erg, Bird of Youth, Las Rosas, Mitski, The Big Moon, Nicholas Allbrook, The Gotobeds, Nothing, Fawnn, Leapling, Speedy Ortiz, Yours Are the Only Ears, Don Vail, Frail, Stephen Steinbrink, Yeesh, Pkew Pkew Pkew, Haley Bonar, And The Kids, Gauntly, Summer Cannibals, case/lang/veirs (x2), Psychic Teens (x2), Glenn Davis, Dogheart, Cat’s Eyes, benjamin783 (x2), Ian William Craig, Terry, Emily Jane White, Walleater, VATS, Alice Bag (x2), Mutual Benefit, Blowout, Mike Adams At His Honest Weight, and Outer Spaces.

The Monkees, Tens, Yung, Star Parks, Marissa Nadler, Brenda’s Friend, elvis depressedly (x2), Rick Redbeard, Sega Genocide (x2), Honey (x2), GØGGS, The Dan Ryan (x2), Male Gaze, Heaters, Leif Erikson, Blessed, Boys, Mumblr, Anthony Sanders, Swanning, Kvelertak, Hollowtapes (x2), Bonnie ‘Prince’ Billy, OVER, Erin Tobey, Quiet Hollers, The Clientele, Young Magic, LUKA, Yikes, Teen BodyFew Bits, Fear of Men (x2), Joy Void, Message to Bears (ft. Will Samson), Baby In Vain, Local Natives, Scroll Downers, and Psychic Heat.

OHIOANDaniel Wilson, The Invisible, Ultraviolence, Oddissee, Bad Channels, Dentists, Deerhoof, Hayden Calnin, The Mercury Programs, Yoni & Geti, Marisa AndersonColleen Green, Lisa Prank, Ultimate PaintingJuniore, Spice Boys, Stone Cold Fox, Avalanche, Beliefs, Museum Mouth, Psychic Ills, Flat Worms, Robin Pecknold, Mock Orange, Magic Potion, Retail Space, VHSBag-Dad, Casper Skulls, Peach Kelli Pop, Aloha, JPNSGRLS, Adeline Hotel, WoodsColder, The Mystery Lights, Islands, Sego, Casey Jordan Weissbuch, Honey Radar, and an unexpected Car Seat Headrest cover of a Radiohead classic as well as an unexpected Yuck cover of an Elliott Smith staple.

Mitski – Your Best American Girl (Music Video)

Mitski IV

Finally, after an onslaught of posts both large in scope and small in stature, this site has caught up to the current release cycle in all three main categories: streams, full stream, and music videos. It’s been a surprisingly overwhelming early run for great material in all three fields and Wednesday kept that pace humming along.

This post will cover music videos and full streams, while the ensuing post will circle back to individual songs. While Mitski‘s brilliant, confrontational “Your Best American Girl” finds the spotlight here, Bob Mould, Lewis Del Mar, The Pack a.d., and Neil Michael Hagerty & The Howling Hex also provided strong clips. Meanwhile, a formidable duo of records — Zen Mantra‘s self-titled and Guided By VoicesPlease Be Honest — also found their way out into the world.

“Your Best American Girl” winds up with this post’s spotlight for a whole array of reasons. Everything from the directing, to the subtext, to the pointed commentary, to the visual presentation, to the editing, to the song itself ensured that “Your Best American Girl” would be held up an an example of not only the extraordinary but the deeply important. Ever since I first met Mitski, she’s been expounding on the virtues of self-worth and detailing the endless struggles that accompany the path to its attainment.

The Zia Anger-directed clip for “Your Best American Girl” is the most vivid hyper-realization of those defeats and triumphs to date.

After cracking this site’s 50 Best Songs of 2016‘s First Quarter list, “Your Best American Girl” has been on near-constant repeat and that level of investment’s been rewarded tenfold. The anticipation for Mitski’s upcoming Puberty 2 has been growing since the release of Bury Me At Makeout Creek (one of this site’s picks for the Best Albums of 2014) and the arc of “Your Best American Girl” has elevated that anticipation to stratospheric levels. Now, that song’s got an unforgettable video and Puberty 2 seems poised to be another instant classic.

Opening on a shot of Mitski being sprayed, touched up, and transformed into a perfectly made up creature. During this process, she looks overwhelmingly disinterested until the clip cuts to a one shot of a young, conventionally attractive male across the room. Both of them are seated on stools and, eventually, they start exchanging body language, cultivating some palpable sexual tension in the process. While this is a sequence that takes less than forty seconds, it proves to be masterful in its execution, taking great care to both distance the male figure and pull Mitski out of the shadows through clever lighting design and photography direction.

Meticulous details like those inform the rest of “Your Best American Girl” while the central action occurs; an attractive white woman joins the male figure and the pair quickly become physically affectionate as Mitski looks on, confused, distraught, despondent, and displaced. Those looks that occur on the artists end feel painfully honest due to the onslaught of cruel injustices that she’s had to face throughout her life. For a moment, “Your Best American Girl” abandons any semblance of hope and becomes a devastating statement of isolation.

Before long, the video inverts is course and Mitski pulls up her hand and mimics the discomforting display of affection happening across the room. At first, those moments where Mitski becomes amorous with herself feel like they’re drawn from a learned place of loneliness, despair, and the kind of personal anguish that can be derived from having a crushingly low sense of self-worth.

Just a few seconds after the sequence becomes extremely uncomfortable in both its confrontational presentation and its unflinching subtext, something beautiful happens: Mitski reclaims her own agency and fully commits to herself. In just a few frames, “Your Best American Girl” transforms itself from a public display of extreme self-deprecation to a bold, empowering statement that drastically reduces the need for the approval of others.
 
By the video’s end, Mitski’s shed her carefully-selected ensemble (a red pantsuit that exposes her own vulnerability) and been reborn in a dress, guitar in hand. While there’s still a desire for intimacy, understanding, and acceptance that lingers throughout the closing moments of “Your Best American Girl”, the need’s been lessened by the realization that we’re worth more than our disappointments. It’s a crucial, realistic distinction and it pushes “Your Best American Girl” from being great to being legitimately important.

“Your Best American Girl” is an astonishingly powerful video that perfectly presents the values that drive the majority of Mitski’s work. It’s a daring clip, whose risks are rewarded with the songwriter’s most definitive entry in an already impressive career. If the rest of Puberty 2 lives up to the standard this has set, it’ll be a record that’ll be admired (and played) for decades. Don’t make the mistake of letting this pass without celebration and remember that we all have inherent worth, even during the stretches — especially during the stretches — when that seems impossible.

Watch “Your Best American Girl” below and pre-order Puberty 2 ahead of its release here.