Heartbreaking Bravery

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Tag: Mom + Pop

Courntey Barnett – Elevator Operator (Music Video)

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Littler, Mass Gothic, Kino Kimino, Ty Segall, Henry Chadwick, Angel Du$t, Little Scream, and Talons were responsible for all but the last of the great music videos to emerge over the course of this site’s mini-hiatus. After being gone for nearly two weeks (thanks to both other musical obligations and preparation work for an upcoming feature on this very space), there were quite a few titles to consider. Ultimately, this final music video spotlight allotted to that stretch of time went to perennial site favorite Courtney Barnett (and her excellent new video).

After experiencing a massive breakout year that saw Barnett do everything from hosting SNL to being nominated for an overdue Grammy, the expectations for any new release for the songwriter have been set extraordinarily high. Thankfully, Barnett’s had a surprisingly long history of avoiding literally any form of disappointment and the brilliant Sunny Leunig-directed video for Sometimes I Sit And Think, and Sometimes I Just Sit‘s invigorating lead-off track is no exception.

Opening the clip on a tongue-in-cheek discussion carried out by Sleater-Kinney sets a lively pace both for the clip’s narrative and for the astonishing amount of cameos packed into the sub-six minute running time. Not soon after the coy cold open, Barnett takes up the titular role and Keunig sets about dismantling any expectations that decision may bring.

Apart from one legitimately breathtaking sequence of relative quiet that cuts away from the song completely, “Elevator Operator” exudes a kind of surprisingly specific irreverence and well-meaning snark that’s proven to be a Barnett specialty. Not long after that staggering moment of existentialism — which is anchored by an impressive performance from Barnett — “Elevator Operator” slides right back into its natural groove, cementing its status as a more-than-worthy addition to Barnett’s enviable output.

Watch “Elevator Operator” below and pick up a copy of Sometimes I Sit and Think, and Sometimes I Just Sit here.

Courtney Barnett – Kim’s Caravan (Music Video)

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Courtney Barnett’s Sometimes I Sit And Think And Sometimes I Just Sit has managed to standout from an already over-crowded 2015 since its release. It reaffirms Barnett’s clout as a songwriter by effectively expanding her range. “Kim’s Caravan”, a sprawling treatsie on Austarlia’s increasingly ravaged landscape, being the record’s most arresting example. Recently, it was given a Bec Kingma-directed clip that more than did the song’s serious subject matter justice. Before diving too far into that video’s innumerable strengths, it’s worth noting that the past few weeks have been full of great clips. To help get the site caught back up, the next few posts will be devoted to those clips- just like the handful preceding Watch This were connected to songs.

Each of these posts will come with a featured video and ten accompanying clips, all of which are worthy of heavy investment. Starting off this round of music videos are Eternal Summers’ stop-motion “Together Or Alone“, Mittenfields’ color-damaged clip for “Optimists“, Sheer Mag’s characteristically scrappy “Fan the Flames“, currents’ deranged revenge fantasy “Build Ups“, and The Wooden Sky’s low-key dancefloor romance “Saturday Night“. Whitewash’s hallucinatory “Tentacle”, Peach Kelli Pop’s blissed-out sugar rush “Princess Castle 1987“, Night School’s incredibly lo-fi singalong “Unkind“, Coeds’ stock visual-effects experiment “Sensitive Boys“, and Never Young’s intensely dark “Like A Version” round out this post’s offerings. While, as mentioned, they’re all worth repeat viewings, this post’s focus belongs to Barnett’s stark, mesmerizing clip for “Kim’s Caravan”.

While it may be too early to brandish a term like masterpiece, it’s certainly tempting. Kingma’s vision- especially when paired with Joshua Aylett’s photography direction- recalls fellow Australian filmmaker John Hillcoat (The Proposition may actually be the closest companion to “Kim’s Caravan”). An almost harsh sense of rural lyricism is on full display as the clip traces over desolate scenery, downtrodden inhabitants, and Barnett herself to create a bold artistic statement. Coming on the heels of the nonchalant “Pedestrian At Best“, “Kim’s Caravan” takes on the feeling of an epic. After establishing a palpable sense of loss, the clip arrives at an arresting climax that includes what will likely go down as one of 2015’s most unforgettable shots. Packaged all together it’s just about enough to knock the wind out of anyone lucky enough to lose themselves to the video’s spell.

Watch “Kim’s Caravan” below and order Sometimes I Sit And Think, And Sometimes I Just Sit here.

First Quarter Full Streams, Pt. 2

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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.

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.

3. Krill – A Distant Fist Unclenching

Krill forever.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

Lady Lamb the Beekeeper – Billions of Eyes (Music Video)

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Due to some lingering technical issues (most notably the loss of a laptop), there’s been a brief delay in regularly-scheduled content. Last week alone was devoid of anything other than Watch This installments, a lone song premiere, and a few 2014 pictorial reviews. To amend that, the next three posts will be focused exclusively on the best of the best to have surfaced last week in the three major categories: music video, single stream, and full stream. Following that will be a recap of this week-thus-far and the second-to-last pictorial review. With all of that exposition out of the way, it’s time to move on to the first major topic: last week’s music videos.

Last week’s haul of new clips did make for some interesting debate over which to feature, as they were all deserving. Ultimately, there was no wrong answer and it seemed most appropriate to go with an artist who’d previously never been covered on the site, Lady Lamb the Beekeeper, who crafted something deeply alluring with the “Billions of Eyes” video. Joining the ranks of “Billions of Eyes” were an unbelievable cast of gems that included: Trust Fund‘s impossibly endearing “Cut Me Out“,  The Midwestern Charm‘s screwball revenge thriller “General Drag“, Alex G‘s charmingly off-kilter “Harvey“, HOLY’s staunchly lo-fi “Silver of Your Heart“, The Dead Ships’ blurred adventure trip “Canyon“, Belle & Sebastian’s characteristically soft-edged “Nobody’s Empire“, and I Love You But I’ve Chosen Darkness’ usual disquiet manifesting in “You Are Dead to Me“. All great clips that will reward anyone able to cut out a half an hour of viewing time in their day-to-day.

Now, back to the featured highlight: Lady Lamb the Beekeeper’s infectiously punchy indie pop and the effortlessly brilliant “Billions of Eyes”. In the clip, Winston Smith-esque collages meet the pop-art sensibility of Wes Anderson in an immediately engaging video that blurs the lines between traditionalism and modernism. It’s difficult to call “Billions of Eyes” a music video or a lyric video definitively because, more than any other clip in recent memory, there’s an emphasis on the strongest elements of both categories. It’s a sly trick that almost diverts attention away from how well-crafted and intuitively paced “Billions of Eyes” winds up being. Ferocious editing sneaks in and consumes the whole affair in the final act, well after the tastefully-presented home video footage has been established. Never anything less than thrilling, it’s as fine of an introduction-at-large that Lady Lamb the Beekeeper (or anyone else) could have possibly hoped for- and it’s one of 2014’s most refreshing videos. If the rest of After (due out via Mom + Pop on March 3) can live up to this extraordinarily high precedent, anyone fortunate enough to hear it will be in for quite the ride.

Watch “Billions of Eyes” below and pre-order After here.

 

Iceage – Against the Moon (Stream)

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There are days where it can be difficult to scrounge up enough great new releases to warrant an introductory paragraph round-up and there are days that are so generously overflowing with great material it’s nearly impossible to figure out what to feature. Today fell squarely to the latter. There were no less than four outstanding releases in each of the major categories: single stream, music video, and full stream. Cool Ghouls’ psych-laced basement pop rager “And It Grows” gave some new promise to the upcoming record. Mean Creek‘s Chris Keene unveiled the most recent look at his Dream Generation project with the sparse “The Four of Us” and September Girls teased their upcoming EP with the snarling “Veneer“. Veronica Falls‘ James Hoare and Mazes‘ Jack Cooper started a new project called Ultimate Painting, who instantly turned some heads with the carefree open-road ramblings of “Ten Street“.

Over in the realms of the music video, Grubs, Frankie Teardrop (warning: heavy strobes), and Cloud Nothings all released clips defined by lo-fi experementalism while Snævar Njáll Albertsson’s Dad Rocks! project dipped its toes into a gorgeously-lensed narrative involving a heavy existentialist crisis with “In the Seine”. In the space occupied by full streams, Dark Blue offered up their heavy-hitting Album of the Year contender Pure Reality and Tomorrows Tulips did the same for their career-best effort, When. Ex-Breathers made all 12 tracks (and 11 minutes) of their vicious upcoming 7″, ExBx, available for the world to hear, while Zola Jesus occupied similarly dark but incrementally softer territory with her upcoming effort, Taiga. A Winged Victory For The Sullen rounded out the full streams with another ambient near-masterpiece titled Atomos. Of course, there was one another full stream- but the link is being withheld until it’s accompanied by a forthcoming review. In the meantime, today’s focus will be on the song that defines that record: “Against the Moon”.

In an effort not to mince words, one thing should be noted before going any further- namely that Plowing Into The Field of Love is a masterpiece. No record this year has seen a more stunning creative growth or felt more important than Iceage’s new behemoth. Only three records into their still-young career and they’ve already emerged with a full-length that not only operates as a radical left turn but one that rivals anything from the creative rebirth of Nick Cave & the Bad Seeds (or, the Let Love In era). Iceage’s first two records, New Brigade and You’re Nothing, were menacing works that a few people chalked up to exhilarating exercises in intimidation. On Plowing Into The Field Of Love the band relents from that approach and serves a hyper-literate Southern Gothic-indebted masterwork that sees them flexing boldly experimental muscle and an untapped well of what now appears to be endless ambition. No song on Plowing Into The Field of Love illustrates this more than the slow-burning “Against the Moon”, a song that’s well out of the confines of anything the band’s ever done but still feels wholly suited to their identity.

Opening with the quasi-mournful strains of a brass section, it quickly undercuts its brief introduction with shuffling drums and the sustained hums of a chord organ. In those opening 15 seconds, the band manages to establish an astounding grasp on a style that was previously completely foreign to them. By the time the string and piano arrangements kick “Against the Moon” up a few levels into the breathtakingly sublime, it’s one of the bravest things any band this year’s committed to a studio recording. As instrumentally thrilling as “Against the Moon” is, it’s the startling emergence of vocalist Elias Bender Rønnenfelt’s vulnerability that shifts the song from the sublime to the transcendental. For the first time, Rønnenfelt’s lyrics and vocals are given a platform that demands the listener’s unwavering attention and that level of investment is paid off in full. From the song’s arresting opening stanza, enhanced by Rønnenfelt’s world-weary drawl, it’s clear that his personal transition directly correlates with what the band’s accomplished in terms of musicality. “On a pedestal, shining bright. Justify me. Make me right. I can fight it; make it roam- but a fugitive has a tendency to return home.” is the kind of opening line that suggests a genuinely great writer- that the rest of Iceage seems to have embraced and experienced the same level of maturity and rapid artistic growth as Rønnenfelt in the short year that’s followed You’re Nothing is nothing short of mind-bending.

A song that literally arrives with horns, “Against the Moon” stands as Iceage’s definitive entry into the band’s sudden new era, the strongest representation of Plowing Into The Field Of Love‘s myriad of sudden changes, and one of the most immediately striking songs to emerge from the past 4 years. Stripped back far enough to be completely exposed, Iceage shows the world all of its scars, all of its imperfections, and all of its entire being- and it’s a tremendous thing to experience. Even considering all of their previous sonic aggression, nothing they’ve ever produced has hit with a fiercer impact. For a band that’s aim has always been to wound, it’s a devastating reverse that leaves them sounding wounded- but bravely resilient. It’s extraordinarily effective and unflinchingly courageous. Most importantly, “Against the Moon” is the crown jewel of what deserves be regarded as one of this decade’s most important records. Make sure to give this the attention it deserves.

Listen to “Against the Moon” below, pre-order Plowing Into The Field Of Love from Matador here, and keep an eye on this site for a full review at some point in the coming week.

Parquet Courts – Black and White (Music Video)

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Yes, Sunbathing Animal is as good as everyone says it is. No, the band’s not reinventing any wheels but they’re one of the best at fully committing to the mechanics behind what makes them spin. Their minimalism has always been one of their strongest appeals and the way they use restraint is aggressive to the point of being abrasive- but it works. Everything somehow clicks in to this chaos that feeds off its own energy, like something that’s constantly trying to hold on to whatever life remains in a death rattle that never really comes.

One of Sunbathing Animal’s best examples of this is the infectiously ragged “Black and White”. True to its name, the video the band’s released for it is presented in grainy black and white footage. There are several pieces of what are designed to appear (and one that may actually be) found footage of pedestrians walking away from the camera that trails them on the New York street where vocalist Andrew Savage resides. By having their videos central figures firmly rooted in anonymity it nicely contrasts the fact that this was an in-house production; band members Austin Brown and Johann Rashid directed the clip. When the video finally reaches a conclusion, in an appropriate bit of subtle continuity, it winds up right where the video for “Sunbathing Animal” took place. Nice touch.

Watch “Black and White” below and take a long walk sometime soon (preferably while blaring Sunbathing Animal).

Cloud Nothings – I’m Not Part of Me (Stream)

I'm Not Part Of Me

Only a short while ago, this song elicited a wave of excitement for Cloud Nothings’ upcoming follow-up to their early best-of-decade candidate Attack on Memory. Back when that live recording was posted, though, details on the upcoming record were scant. Today the band over-corrected that detail in stunning fashion, sharing that it’d be named Here and Nowhere Else, while also announcing that it would be released on April 1, 2014 via new label Mom + Pop records- and by sharing what looks to be one of the records many highlights. While second guitarist Joe Boyer has been forced to leave the band due to some legal troubles that preclude him from touring, the band seems to have found ways to fine-tune their sound into something that doesn’t call too much attention to his absence. It’s a sound that matches their strengths as well as possible while suggesting a few new influences that should make this record one of 2014’s more interesting releases. “I’m Not Part of Me” also boasts a chorus section that will immediately get lodged in the brain of anyone who’s paying attention. Cloud Nothings come across as particularly committed in “I’m Not Part of Me” and continue to heighten the growing interest in Here and Nowhere Else. Listen to “I’m Not Part of Me” (and then listen to it a few more times) below.