Heartbreaking Bravery

stevenmps2@gmail.com | @steven_mps | @hbreakbravery

Tag: Monomyth

17 of ’17: The Best Songs of the Year

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

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

These are the 17 best songs of 2017.

Enjoy.

Great Grandpa – Teen Challenge

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

Mo Troper – Your Brand

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

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

Cende – What I Want

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

Charly Bliss – Westermarck

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

Common Holly – Nothing

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

Weaves – Puddle

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

Fred Thomas – Misremembered

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

Big Thief – Breathe In My Lungs

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

Cayetana – Bus Ticket

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

Yucky Duster – Elementary School Dropout

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

Strange Relations – Say You

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

Covey – Call Home

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

IDLES – Mother

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

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

Palehound – If You Met Her

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

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

Young Jesus – Feeling

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

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

The Magic Lantern – Holding Hands

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

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

SONG OF THE YEAR:

Mount Eerie – Real Death

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

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

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

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

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

 

+++++++++++
+++++++++++

The Best of the Rest

18-21

22-26

27-32

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

33-100

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

Nothing Stops In November: The Month’s Full Streams

A lot changed over the course of November, on national, global, and intimate scales. The results of the latter category led to a near-absence of posts over the past 30 days on this space. No matter how much the personal landscape changed, the tracking of new releases remained a constant. While the last post documented some of the best music videos to emerge over the course of that run, the attention here falls to the full streams that were unveiled in that same interim.

As is typically the case with these types of roundups, everything here deserves more praise than it can possibly receive here and is likely best sifted through at a leisurely pace. Feel free to bookmark the page and make return visits to hear some outstanding music because these aren’t releases that people will want to miss. Dive in and enjoy. 

Permit, Lawn, Swampmeat, Minihorse, Deerhoof, RetailThe Momotarōs, Spelling Reform, Very Fresh, Dark Blue, Skin Lies, Nine of Swords, Harmony Tividad, Miracle Sweepstakes, Monomyth, Pure Moods, if i die in mississippi, Mustardmind, Frank Weysos, Tuffy, Dr. Dog, Jess Williamson, Pastel Felt, Floating Room, Mark Sultan, Landing, Psychic Love, His Clancyness, Blank Range, Dogs At Large, Mr. Universe, Carroll, Warm Ouroboros, NGHTCRWLRS, Ava Mendoza/Maxime Petit/Will Guthrie, You Blew It.

Burial, Justin Carter, Cold Country, Gloria, Brave Timbers, Split Single, Amp, Deadaires, Cameron AG, Estrons, The Superweaks, My Education, Genders, Elle, Perfect Human, Fujiya & Miyagi, The Immoderate Past, Holy Golden, and Quit + Wuss. An outstanding GoldFlakePaint compilation and an exceptional Z Tapes compilation rounded things out in memorable fashion.

A Week and a Half’s Worth of Material

Over the past week and a half there was a vast arsenal of material that found release across all three major formats. All of the titles that made a sizable impression will be linked to below and all of them are well worth exploring. Over the next few days there will be a laundry list of individual items to find small features but that in no way should deter from the immense value of the songs listed below. If there was enough time to provide each and every one of these entries features of their own, a regular day would have to be well over 24 hours. As it stands, the best approach is to simply bookmark this page and peruse these selections at a preferred pace. Keep an eye out for more updates from this site very soon and enjoy the incredible offerings that are available below.

Streams

The Raveonettes, Coaster, Puerto Rico Flowers, Beachtape, Sad13 (x2), Small Wonder, Two Houses, Floating Room, Hooton Tennis Club, Communions, Monster Rally, Mark Sultan, CRX, Dama Scout, Lady Lamb, Maria Taylor (ft. Conor Oberst), The Cinematic Orchestra (ft. Moses Sumney), Frank Weysos, Parlour Tricks, JD Werner, Del Water Gap, Invisible Boy, Magic Magic Roses, Hand Habits, The Breaks, Tyvek, clipping., Flower Girl, Mark Eitzel, Soft Lions, Cosmonauts, Desperate Journalist, Sonnyskyes, Tyler Daniel BeanSløtface, Cory Hanson, Sinai Vessel, Will Johnson, MOLLY, The Olympian, Boon, Emily Reo, Joanna Newsom, War Nurse, Ramonda Hammer, Sundayman, Yeasayer, Gummy, Sacred Paws, Enemies, BROS, Dead Leaf Echo, Mo Troper, Jarrod Milton, Dante Decaro, wrtch, Miya Folick, and Frankie Cosmos

Music Videos

Flasher, Honeyblood, Gland, Black Marble, Matt Kivel, Emilyn Brodsky, Peacock Affect, The Soonest, Alpenglow, Peder, Peeling, Worms, Girl Ray, Communist Daughter, Moonheart, The Superweaks, Sara Jackson-Holman, Andy Shauf, Monomyth, Victoria + Jean, The Avalanches, Purling Hiss, Tanukichan, Lou Barlow, Pity Sex, Froth, Allison Crutchfield, Strange Relations, Berwanger, Hazel English, Nada, Mayflower, Jess Williamson, Brunch, The Cavemen, Ray & Remora, Busman’s Holiday, Matt Costa, Muncie Girls, Soaker, and Oh Pep!.

Full Streams

Slothrust, Eric Schermerhorn, Tony Molina, Perfume-V, Silent, gobbinjr, Thick, Sam Kogon, Soft Pyramids, Max, Suntrodden, Loamlands, Nocturnal Habits, Choir Boy, Twiga, Angelic Milk, Realms, Parlour Tricks, Skye Wallace, Saba, Dead To Me, Teen Suicide, No Nets, Kevin Morby, Bloody Death Skull, Tournament, King Dude, Spectral Fangs, Communist DaughterSpeak Into My Good Eye‘s The 3rd Annual 24 Hour Songwriting Challenge, and Brown Acid, a joint-effort compilation from Riding Easy Records and Permanent Records that explores some of the heavier music of the ’60s and ’70s.

Monomyth – Puppet Creek (Stream)

monomyth

Every so often a band comes along and quietly subverts genre tropes and winds up producing something that’s both comforting in its familiarity and tantalizing in its difference. Enter: Monomyth. The band’s landed on a formula that siphons out the very best of indie pop, chillwave, and slacker punk and churns it into a cohesive whole. Their latest single, “Puppet Creek”, is a perfect example of this approach. Light in tone and substantial in content, “Puppet Creek” is a work that sounds as grounded as any veteran band while being suffused with a wide-eyed sensibility of a band that’s only just found its place.

It’s an inspired — and oddly inspiring — listen that sets the bar extraordinarily high for the band’s forthcoming Happy Pop Family, which should have the type of wide-ranging appeal to secure the band critical and commercial success. Until we find out sure, it’s best just to leave “Puppet Creek” on repeat.

Listen to “Puppet Creek” below and pre-order Happy Pop Family here.

LVL UP – Spirit Was (Stream)

LVL UP II

The first two days of this week saw strong songs released from the following artists: Painted Zeros, Sneaks, Devon Welsh, Cheap Girls, Lilac Daze, Casper Skulls, Dweller on the Threshold, Idiot Genes, gobbinjr, Faux Ferocious, Halfsour, Pip Blom, Elephants, Split Single, Rose Hip, Weyes Blood, Thick, Cameron AG, Preoccupations, Oldermost, Tim Hecker, The Shacks, Swet Shop Boys, The Cradle, Gallery 47, Monomyth, Robot Princess, Pumarosa, COPY, decker., Slaughter Beach, Dog, and The Perennials, as well as a great Modern Lovers cover from Sunflower Bean. That’s an intense amount of genuinely exceptional material, which says a lot about the strength of this post’s featured track: LVL UP‘s “Spirit Was”.

Pain” and “Hidden Driver” have set an impressive early tone for LVL UP’s forthcoming Return to Love — an easy album of the year candidate — and now “Spirit Was” joins their ranks. From its opening seconds, it’s evident that “Spirit Was” would be foregoing the heaviness of “Pain” and the urgency of “Hidden Driver” in favor of the more dream-like qualities that have given previous tracks like “Proven Water Rites” a tremendous amount of impact, despite their more serene nature.

As was the case with “Proven Water Rites”, bassist Nick Corbo is at the helm of “Spirit Was”, suffusing the tune with a distinctive blend of weariness, downtrodden longing, and a glimmer of faith in the possibility that there’s more to life than struggle. Like a lot of Return to Love (which can be streamed upon pre-order), “Spirit Was” showcases a heavier, grunge-leaning side of LVL UP that they’d only shown glimpses of in their earlier works. There’s a genuinely intangible quality to this song that elevates it beyond being a good song and transforms it into something impossibly compelling.

Every single second of “Spirit Was” seems to have an incalculable depth of meaning and importance to its authors, going far deeper than just the narrative. LVL UP are playing as if the stakes are life or death and they’re hedging all of their bets on survival, at all costs. From the very welcome addition — and surprising prominence — of piano flourishes to the empathetic rhythm section work to the intuitive guitar interplay, there’s not a false move to be found. It’s an astonishing moment of poise from a band that’s operating at the peak of their powers, paying tribute to their past while not taking their eyes off of the future.

By its end, “Spirit Was” serves as an incredibly assured testament to the artistic prowess that the band’s attained over several years of evolving their craft.  None of them have ever sounded more impressive than they do on Return to Love both in an individual capacity and as a unit. “Spirit Was” is a perfect example of that progress and a cogent argument for their tenacious commitment to artistic growth. Subdued, atmospheric, and oddly reassuring, “Spirit Was” is the sound of a band on the verge of perfection. It’s a peak that deserves to be experienced by everyone so stop reading now and just hit play.

Listen to “Spirit Was” below and pre-order Return to Love from Sub Pop here.