Heartbreaking Bravery

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Tag: Music Video

The Best Music Videos of October 2018

Today will be spent going over the best songs, music videos, and records of the past two months, each individual section divided up into respective month and format. The songs of October have been handled so it’s time to turn the attention towards the month’s notable music videos. From emergent acts to reunited powerhouses, the five selections below run an interesting gamut but it’s a spectrum well worth exploring.

1. Swearin’ – Grow Into A Ghost

Special orders of the most recent Swearin’ record came with customized “Illusion-O” 3D glasses. The glasses were to be used for the viewing of the two music videos, which coincided with the record’s release. “Grow Into A Ghost” makes expert use of this tactic, full of visual pop even without the glasses, leaning into a ’50s sensibility to great effect. A testament to the band’s creative strength, “Grow Into A Ghost” suggests Swearin’ have a firm grip on their future.

2. Flasher – Material

Flasher‘s “Material” is the type of music video that seems designed to provoke severe reactions. From the intentional, tongue-in-cheek subversion of the song itself to the manipulation of the actual viewing process, “Material” is a risky gambit. The cumulative effect pays that risk off as the clip devolves into territory that’s typically occupied by late night Adult Swim viral insanity. While it can occasionally be difficult to watch, “Material” is even more difficult to forget.

3. didi – Haru

didi take their strain of ’90s revivalism to new heights on the clip for “Haru”, fully embracing the visual aesthetics that defined the slacker punk videos of that era. Rough, grainy, overflowing with light colors, and strewn with cheap effects, “Haru” is a throwback fever dream. Acutely self-aware and teeming with a vibrant energy, the Alex Bolcher-directed clip will be sure to turn a few heads.

4. Pedro The Lion – Yellow Bike

One of the more unexpected reunions of 2018 came in the form of Pedro the Lion. A band revered by critics and audiences alike, David Bazan‘s relaunched project has been facing incalculable scrutiny. “Yellow Bike” is one of the band’s first forays back into the public conscience and arrived accompanied by a heartfelt music video that perfectly caters to the band’s sensibilities. Quietly moving and full of promise, “Yellow Bike” stands as an important entry of a storied career.

5. Casper Skulls – O My Enemy

Taking a break from harsh noise and confrontational, pointed visuals, Casper Skulls opt for a scenic detour on the Melanie St-Pierre video for the tender elegy, “O My Enemy”. Opening on an illustration of a small child curled up into the fetal position, small bursts of animation begin to spread outward, surrounding the central figure with softness and life. The clip never stops morphing, allowing the child to quietly fold into a flower, all the while “O My Enemy” provides the soundtrack and conjures a startlingly emotional effect. Simple and very nearly overwhelming, “O My Enemy” more than proves the worth of artistic concepts.

Two Months, Six Music Videos

Two months in a world where new releases never stop building can unearth a lifetime’s worth of new material. Whether it’s songs, music videos, or records, there will be more than enough material to keep anyone whose willing to invest the time occupied for weeks on end. This post will take a look back at six of the most notable clips to find release since the last regularly scheduled feature post went up, ranging from short films to compilations to animation. All of these are worth the time.

Lucero – Long Way Back Home

Jeff Nichols has been one of this generation’s best filmmakers since Take Shelter‘s release in 2011. Two people who have been inextricably intertwined in that development are Michael Shannon — who has delivered a number of tour de force performances for the director — and sibling Ben Nichols, who fronts Lucero and has gifted many of Jeff’s films songs for the end credits. “Long Way Back Home” is another impressive collaborative effort from all three talents, with strong ties back to Jeff’s debut feature Shotgun Stories. It’s an incredibly captivating look at a fractured relationship, invoking a sense of dread, deceit, and finality. We could all stand to learn a lot from the brothers Nichols, Shannon, and game co-stars Garrett Hedlund and Scoot McNairy.

illuminati hotties – Cuff

illuminati hotties are in the throes of a breakout year, stacking up impressive pieces with ease. “Cuff” is a psychedelic stream-of-consciousness onslaught of imagery that perplexes and soothes in equal measure, centering around an anthropomorphic fish going through a daily routine. It’s a gripping piece of animation and a vivid display of imagination, the two coalescing into a memorable clip from one of 2018’s hungriest emergent acts.

Courtney Barnett – Charity

Few independently-minded artists seem as deserving of a sweeping victory lap as Courtney Barnett, who has consistently done things on her own terms, whether it be launching a label to ensure total creative and artistic freedom or simply hanging on to the joy of performing in the face of growing audiences and the expectations that accompany that growth. Barnett has yet to make a disappointing record and seems to thrive in the pursuit of artistic evolution. The clip for “Charity” feels like that victory lap, blending in hangout footage with live edit clips from monstrous sold-out shows. It’s a moment that Barnett’s earned and, like everything else the songwriter’s released, immensely enjoyable.

Young Jesus – Saganism vs. Buddhism 

One of the staples of Heartbreaking Bravery’s coverage since it was started five years ago has been Young Jesus, who have moved from Chicago to L.A. and worked their way up from self-releases to a deal with Saddle Creek. Their forthcoming The Whole Things Is Just There is the band’s most ambitious and fearless work to date, which will be their first true effort for their new label. In keeping with their growing sense of experimentation, the band’s releases a music video for “Saganism vs. Buddhism” that the band self-directed, going from a tongue-in-cheek intro that finds bandleader John Rossiter embracing cringe comedy to the illustrations and stop-motion work that has been a mainstay of their visual work for several years. Fascinating and teeming with confidence, “Saganism vs. Buddhism” proves the band’s not concerned about adhering to anything other than the identity they’ve carved out for themselves.

Advance Base – Your Dog 

The simplistic conceit for Advanced Base’s “Your Dog” clip is rendered remarkably effective thanks to the song’s immense emotional heft. Compiled of nothing but fan-sourced photographs of people’s pets “Your Dog” becomes almost unbearably sad. A song written as a tribute to the fallout of a relationship where a partner visits more for an animal than their disappearing partner, the video manages to cut into something lasting, to devastating effect. It’s a draining experience, one that makes implicit and explicit statements about varying degrees of mortality; a reminder that everything has an expiration date. Startling and imbued with raw feeling, “Your Dog” is the kind of clip that sticks.

Dilly Dally – Doom

Dilly Dally‘s “Doom” appears to be the next installment in a series of of music videos that double as a direct commentary on Dilly Dally’s absence and rebirth. The band’s already made varying statements about how they collectively weathered a few trips through personal hell while facing down various addictions and how those experiences nearly buried the band. The clip for “I Feel Free” found bandleader Katie Monk’s literally unearthing the corpses of the other members and urging them to come back to life while “Doom” posits Monks as a torch-bearing leader guiding them to a spiritual ascension. Full of vivid imagery, soft hues, and more than a few nods to witchcraft, “Doom” makes it abundantly clear that Dilly Dally has returned- and that they’re intent on a reckoning.

 

 

Young Jesus – Deterritory (Music Video)

It’s been a while since anything went up on these pages and there are a lot of reasons behind yet another interim but, as ever, the work continues to be done behind the scenes. Five posts were scheduled to go up before that break and will be going live today. This is one of those posts.

There have been few bands that this publication pushed as hard or as consistently over its near-five year span as Young Jesus, who have released two astonishing albums in that time span and are on the brink of unveiling a third. The Whole Thing Is Just Here is the first true release for Saddle Creek, who wisely snapped the band up after catching the live show — a near-religious experience — to issue S/T a proper (re-)release. The move seems set to pay dividends for the label as the band’s constantly realizing their voice through a series of unpredictable progressions, rendering all of their new material revelatory.

“Deterritory” is the latest evidence of that curious trend. It’s an absolutely towering track that leans hard into the band’s refined sense of exploration, swinging without notice from ambient noise-punk to post-hardcore to Saddle Creek’s signature open-road, Americana-tinted indie rock, all in six minutes. Bandleader John Rossiter’s always had a penchant for the arts and raw creation that’s anchored by an uncommon understanding, something that’s brought to the forefront once again in the simple but strangely compelling clip for “Deterritory”, which takes its time in playing out and trusts its viewing audience and doesn’t offer a clean-cut resolution, reflecting what separates this band from so many of their contemporaries: Young Jesus know, now more than ever, nothing’s more important than the journey.

Watch “Deterritory” below and pre-order The Whole Thing Is Just Here from Saddle Creek here.

 

 

IDLES – Great (Music Video)

It’s been a while since anything went up on these pages and there are a lot of reasons behind yet another interim but, as ever, the work continues to be done behind the scenes. Five posts were scheduled to go up before that break and will be going live today. This is one of those posts.

IDLES are on the verge of releasing a legitimate Album of the Year candidate in Joy As An Act of Resistance, a profound protest record with a borderless message that’s resonating deeply in an especially volatile political climate in major countries across the world. Last year, the band released what this site would eventually name the 2017 Music Video of the Year in “Mother” (which remains one of the best clips of the decade) and have a genuine shot at repeating being granted the honor of that distinction this year with the feel-good reclamation of “Danny Nedelko“.

“Great” is the fourth music video to arrive from IDLES this year and continues an unparalleled run of brilliance in the format since the release of “Mother”. Directed by Theo Atkins, “Great” may be the most straightforward clip from the band’s present album cycle, consisting of alternating shots between moments of common, everyday life and live performance. Edited together, “Great” effectively underscores the declaration that comes at the end of the song: “because we’re all in this together.”

IDLES is a band of the people, for the people. They seethe, they rant, and they provoke, but they always get their point across. We’re all embroiled in fights that extend far beyond ourselves, making calls for unification, reminders of positive self-worth, and a willingness to demolish outdated ideals in the pursuit of progress monumentally important. “Great” is the kind of warning shot that sends an abundantly clear message of prioritizing empathy, inclusiveness, and community, which is a message that this site will stand proudly behind.

Listen to “Great” below and pre-order Joy As An Act of Resistance here.

Tomberlin – Self-Help (Music Video)

Just before releasing one of the most devastating albums of the year in the achingly gorgeous At Weddings, Tomberlin offered up one last peek towards that incredible record with the Laura-Lynn Petrick-directed clip for “Self-Help”, which lays bare the kind of arresting nakedness that gets put under the knife throughout the course of the album. Centered around the artist and a trip to the aquarium, the clip for “Self-Help” drives home the pervasive tendency to feel small outlined against the wonders of life that gets considered and dissected in At Weddings.

No answers are offered, no questions are explicitly asked, but “Self-Help” punches home existential wonderment with an unapologetic precision. Viewers might get lost in “Self-Help” but it’s difficult to predict to what extent, as there’s enough at stake here to level someone particularly vulnerable. Bravely articulated and fearless in its vulnerability, “Self-Help” is art at its most honest, which can go a long way towards a greater survival.

Watch “Self-Help” below and pick up a copy of At Weddings from Saddle Creek here.

The Beths – You Wouldn’t Like Me (Music Video)

On Friday, The Beths released one of 2018’s best albums so far in the astonishing Future Me Hates Me, a record overflowing with sugar-coated basement pop that comes with just enough bite to truly stand out. One of the strongest moments of that record — which, again, is uniformly great — comes by way of “You Wouldn’t Like Me”, which was recently given an Ezra Simons-helmed music video that stands as the band’s best clip to date.

Ceaselessly charming, gifted with a vibrant palette, and full of clever, tongue-in-cheek moments, the clip acts as a perfect summation of the band’s appeal. There’s something familiar about the surface but there’s a competing intricacy that suggests the individualized vision at The Beth’s core. Warm, welcoming, and ridiculously winsome, “You Wouldn’t Like Me” offers up a worst-case argument for its title, clearly outlining just how much about this band, this record, and this clip, is not only worth liking but outright loving.

Watch “You Wouldn’t Like Me” below and pick up a copy of Future Me Hates Me from Carpark here.

Doe – Heated (Music Video)

The last release Doe managed, 2016’s Some Things Last Longer Than You, was good enough to be christened Heartbreaking Bravery’s Album of the Year. To say that the arrival of their new material has been highly anticipated over on these fronts would be a monumental understatement. “Heated”, the lead-off single for the trio’s forthcoming Grow Into It — their first release for both Big Scary Monsters (UK/EU) and Topshelf (US) — was worth the wait.

“Heated” picks up where that record left off, offering up an avalanche of memorable hooks, explosive dynamics, and considered arrangements. Guitarist/vocalist Nicola Leel leads the band through a mid-tempo charge that evokes the slacker punk scene of the ’90s the band proudly embraces as evident influence. Everything from the riffs, oscillating between woozy and scintillating, to the backing vocals that provide an abundance of texture have solid historical backing but are presented in a modernized context that genuinely elevates the material.

As thoughtful as ever, “Heated” finds Doe more experienced, more versatile, and more prepared than ever to jump into the fray with fearless abandon. It’s a song that offers no wasted moments and plenty of clever twists that portend very, very good things for the record that lies in wait. A perfect soundtrack for a humid summer for a cavalcade of reasons, “Heated” isn’t afraid to live up to its title. The arresting Jack Barraclough-directed music video that accompanies its release is just the cherry on top.

Watch “Heated” below and keep an eye on Topshelf for pre-order of Grow Into It.

IDLES – Samaritans (Music Video)

There’s a very real chance that IDLES might wind up sneering and snarling their way into a handful of coveted Album of the Year slots with their forthcoming Joy As An Act of Resistance. Virtually everything the band’s done ahead of the release has been nothing short of incredible, from pointed push backs to xenophobic sentiments and stolen gestures to the measured sprawl and slow-burning intensity of a frustration framed in 4:3.

The quintet’s latest unveiling, “Samaritans”, finds the band relentless attacking toxic masculinity to staggering effect. While there aren’t a lot of problematic sociopolitical topics that richly benefit from being led by white men, toxic masculinity is one that definitely qualifies. Having a vocal guidance that comes from men who look tough and present in a traditionally masculine way is a way that can cut through a very tired form of presumption with an exacting precision that sometimes finds a way to tower over the interfering noise.

To that end, “Samaritans” isn’t just powerful but deeply important. IDLES have been making their name on relentlessly aggressive hardcore-adjacent punk that fearlessly invokes progressive politics. To put it as bluntly as possible, IDLES could very well be the most important punk band on the planet. We don’t need men — especially white men — to control and lead conversations about every aspect of sociopolitical regression but to have some who are legitimately enraged by those instances, who are lending both their voice and platform to a way that meaningfully addresses societal ills is vital; this is the space where IDLES are making their presence felt.

“Samaritans” is as necessary as anything in IDLES’ discography thus far, driven by venomous bite and loathing for a status quo that shouldn’t exist — a fact driven home by the video’s presentation of stock footage, a stark reminder of toxic masculinity’s insidious totality. This is why you never see your father cry / this is why you never see your father is the unforgettable hook that informs a song that’s been constructed by history and given extra weight by the tumultuous nature of what that history has entailed. Everything here, as is typically the case with IDLES songs, carries the scars of experience. They’re also buoyed by an increasing prominence in modern opinion that things like toxic masculinity deserve a beheading.

When the guillotine drops, those sharp edges are felt. Not necessarily by the victim but by those who bear witness. IDLES have crafted their own version of that weapon with “Mother” (Heartbreaking Bravery’s Music Video of the Year for 2017), “Colossus”, “Danny Nedelko”, and a handful of others. “Samaritans” is just the latest addition to the list. While the things that are stirring up the inspiration for IDLES’ narratives may still find ways to attain prevalence, don’t expect the band to step away from a fight; this is music that’s already been bathed in blood.

Watch “Samaritans” below and pre-order Joy As An Act of Resistance from Partisan here.

Two Weeks, Three Videos

A trio of videos found a way to make their presence felt over the past two weeks. Each of the three featured videos stand out for very distinct reasons with minimal overlap. From mastery of craft to self-awareness to successful experiments in restraint, there’s a lot of variety. Every example finds a way to enhance a great song with a video that proves to be the equal of the source material’s strength. Take a look (and a listen) below.

Slothrust – Double Down

After finding success through their past few releases, Slothrust is allowing their ambition to expand. The band’s forthcoming The Pact is their boldest work to date and has the potential to carry the band to greater success. A lot of that stems from the band making the right moves at the right time — in addition to their spectacular live show — and “Double Down” is proof, its surrealist world-building is impeccable. From the abrupt staging and cinematography that introduces the viewer to “Double Down”, Slothrust make it abundantly clear that they’re not content with stagnation. They’re out to prove something and the staggering clip for “Double Down” (those first moments are especially gripping) sees them off to a solid start.

Mozes and the Firstborn – Hello

Mozes and the Firstborn have been making impressive music for a handful of years now, running the gamut from arresting intensity to playfully entertaining. “Hello”, and its visual accompaniment, find a way to skew towards the latter while retaining some of the former. An infectious pop song married to a clever concept, “Hello” finds Mozes and the Firstborn’s vocalist running behind a camera, lip-syncing to the song while runners in an actual marathon jostle past. Shirts get discarded, revealing words and phrases, a cigarette gets smoked, and a range of spectators emotions fly by in one of the more unexpectedly blissful clips of 2018.

Free Cake For Every Creature – Be Home Soon

Katie Bennett continues to impress at just about every turn, though the Free Cake For Every Creature project remains the songwriter’s calling card. Here, the project gets an appropriately gentle illustrated video for the quietly moving “Be Home Soon”. Rivkah Gevinson created the clip for “Be Home Soon”, which combines collage work and stop motion photography to an enchanting effect, the song quietly washing over the proceedings. There’s a modicum of saturation washing through the clip’s coloration and playing into a wistful, nostalgic sensibility. Unexpectedly mesmerizing and characteristically lovely, “Be Home Soon” is up there with the finest work to bear the Free Cake For Every Creature name.

The Best Music Videos of June 2018’s Final Half

The last two weeks of June were filled with visual delights but there were three entries into one format’s storied history that found ways to stand out. For a few of them, it was about form, for others it was about boundary-pushing subversion. Curiously, two of these three clips were more lyric videos than narrative-driven, while the exception of the three took its askew narration to stratospheric heights. Get acquainted with all three videos below.

Mitski – Nobody

There are a lot of music video directors out there that can consistently find new ways to turn heads and A Year’s Worth of Memories alum Christopher Good has existed comfortably in their ranks for a while now. Still, it’s always heartening to see those types of artists find a collaborator who’s fully up to the task of creating something memorable. Throughout the course of Mitski‘s “Nobody” clip, it’s a joy to watch the two push each other’s creative spirit to stratospheric heights. An oddball collage full of vibrant colors that cloak a despairing center that expounds on searching and reconciling identity, “Nobody” is as eye-catching as it is thoughtful. Far and away one of the year’s most memorable — and playfully bizarre — music videos.

Hala – Sorry 

Occasionally, a strong (or strange) narrative isn’t needed to bolster an already strong song. Sometimes it’s simpler to just come up with a straightforward conceit and commit to it with as much honesty as possible. That’s the case in the clip for Hala‘s “Sorry”, which utilizes some framing and presentation tactics pulled straight from Shane Meadows’ playbook. The Ian Ruhala-directed clip is as about straightforward as they come, relying on an engaging central performance, some cleverly placed subtitles, and a great song to carry it to the realms of greatness.

Onlyness – Comfortable

Paring things back even further than “Sorry” is the clip for Onlyness’ “Comfortable”, which effectively utilizes a single image and some light effects work to enhance an incredible song. The lyric placement over that image adds just enough atmosphere to propel this past the normally tepid world that lyric videos tend to occupy. One could nearly make the argument “Comfortable” is more of a visual art piece than a committed music video. The clip makes maximum use out of its minimal construction to lend more depth to an already gorgeous song’s artistry and, more often than not, that’s more than enough.