Heartbreaking Bravery

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Tag: Music Video

Dilly Dally – Desire (Music Video)

dilly dally

This week, like just about any other in 2015, has been enormous for music. Since this site’s coverage was entirely dedicated to live coverage over the course of the past 7 days, these next two posts will be focusing on the great new material that saw release during that time frame. Starting with the full streams, there was no shortage of spectacular releases, including new entries from Ronnie Stone & The Lonely Riders, Doubting Thomas Cruise ControlGardens & Villa, Places to Hide, Jesse PayneMorly, Frau, The BarreracudasPawns, and Sieveheads. Music videos had a week just as strong, one that included great clips from the likes of La Lenguas, The Arcs, Noveller, Youth Lagoon, This is the Kit, Lithuania, VundabarJoanna Newsom, PalmWhite Reaper, and Palehound. Of course, it also included the incredible featured video from site favorites Dilly Dally.

Just over a month ago, “Desire” was covered at great length on its own merits as a standalone single. Now that the band’s got the advantage of a visual medium, they can start hammering home some of Sore‘s driving thematic elements. “Desire”, specifically, is grounded with a through line about sexual release- something that comes to the fore through sensuous lighting, a color palette that’s frequently tinted white, and suggestive imagery that balances the beautiful with the mundane. There’s an emphasis on repetition and motion, which- combined with the provocative whites that dominant the video’s middle section- act as perfectly analogous to the song’s original conceit.  It’s a stunning, elegant work that complements the song to a sublime perfection and isn’t afraid to shy away of the difficult, ordinary aspects that help humanize an otherwise otherworldly experience.

Watch “Desire” below and pre-order Sore from Partisan here.

Strange Relations – Panther’s Conquest (Music Video Premiere)

strange rlations
Photograph by Kate Essick

Back in March, Strange Relations quietly released the excellent -CENTRISM, a collection of songs teeming with a variety of great influences (indie pop, post-punk, new wave, no wave, hardcore, etc.). It’s an album that deserved greater circulation than it initially received- but, like all great bands that have the tenacity to reach wider platforms- they’re staunchly refusing to be dissuaded by something as trivial as small reception. I’m honored to be hosting the premiere of the music video for the shortest, sharpest, and fiercest song on -CENTRISM, “Panther’s Conquest”.

On -CENTRISM the song feels even more vicious than it does as a standalone piece, thanks to the sequencing choice to have it follow the record’s most gentle moment. Freed of sequential boundaries, the Lewis Wilcox-directed clip is allowed both a freedom and a fierceness that feels intrinsically tied to the spirit of the song. Utilizing striking visuals, great framing, brilliant editing, and a strong turn from Isabel Hendrix in the video’s central role, it plays on an unnerving sense of pulp to great effect.

Intercutting performance footage, cleverly placed snippets of lyrics, an empty, foreboding chair in a parking garage, a photoshoot, and more, “Panther’s Conquest” ultimately comes off as an exploration of personal identity, rendering it an accurate presentation of one of -CENTRISM‘s largest overarching narrative themes. As everything rapidly builds to what feels like may be a horrifying climax, the clip subverts expectations and ends with a different kind of powerful statement. It’s an elegant and graceful punctuation mark that makes the sentiments preceding it even more intriguing. Provocative, thoughtful, and full of beautiful neo-noir touches, it’s not a video to be missed.

Watch “Panter’s Conquest” below and order -CENTRISM here.

Salad Boys – Dream Date (Music Video)

salad boys

It seems fitting that another stacked week for new releases would find a similarly overloaded endcap. Total Makeover, Soft Fangs, Blackalicious, and Cumstain all had incredible new songs while Melkbelly, Lindi Ortega, and Phylums unveiled outstanding records. Even with the strong representation for those categories, the day belonged to music videos. La Luz’s animated “Black Hole, Weirdo Shine“, sore’s delightfully low-key “elle le fantôme“, Pianos Become the Teeth’s startlingly heartfelt “Ripple Water Shine“, Sharkmuffin’s unapologetic “Tampons Are For Sluts“, Albert Ryan’s lyric clip for “Man“, Kaleo’s gorgeous, inventive “Way Down We Go“, Earl Sweatshirt’s classic, nightmarish “Off Top“, and Deaf Wish’s retro-influenced futurist vision “On” constituted an unusually strong field. Topping everything off was Salad Boys‘ curiously entertaining “Dream Date”.

The narrative through-line’s essentially non-existent in “Dream Date”, leaving the clip to function and thrive on its own singular energy. Directed by Ben Dodd and Salad Boys’ guitarist/vocalist Joe Sampson, the clip finds Sampson placed front and center in various scenic locations. While his isolation could serve as a commentary on loneliness, there’s a wryness and contentment that centers Sampson’s performance and suggests that being alone can be an extraordinary thing. It’s a deceptively clever setup anchored by a committed performance- and a spry basement pop song- that lends “Dream Date” an unavoidable vibrancy. Irreverent, funny, and impossibly light, it’s the kind of video that can act as a reminder of the joy of simply being alive.

Watch “Dream Date” below and pre-order Metalmania ahead of its September 18 release date from Trouble In Mind here.

PWR BTTM – Ugly Cherries (Music Video)

PWR BTTM III

Now that the site’s been brought back up to speed on some of the week’s best songs and full streams, it’s time to turn an eye towards some genuinely great music videos. Roah Summit’s soft, dreamlike “Take Care” kicked off this week’s viewing necessities, shortly followed by Honduras’ lightly deranged “Paralyzed“, Girl Band’s deliriously unhinged “Paul“, Sunshine & The Blue Moon’s nostalgia-ready “Lucy“, and Nano Kino’s poised “Never Seemed To Happen“. Joining those titles were The Jon Spencer Blues Explosion’s frantic “The Ballad of Joe Buck“, Of Montreal’s animated adventure “Last Rites at the Jane Hotel“, Worriers’ self-effacing “Most Space“, and Foals’ visually stunning lyric clip for “A Knife In the Ocean“. While the feature could have gone to any one of those entries, it felt most appropriate to give it to PWR BTTM’s intentionally bold video for the title track off of their forthcoming record, Ugly Cherries.

PWR BTTM has surfaced an astonishing number of times as this site’s entered its Brooklyn-based era, something that was all but guaranteed a few songs into my first experience of the band’s exhilarating live show. Of course, it also helps that their focus on the area has intensified as of late (the duo recently announced plans to move to the city) and two DIY institutions (Father/Daughter and Miscreant) have both thrown their weight behind the band’s forthcoming record. A lot of that record has been evidenced through this site’s live coverage but the only official preview thus far has been “Ugly Cherries” itself, the record’s shamelessly, refreshingly bombastic title track.

For the video, the camera’s lens places the song’s guitarist/vocalist Benjamin Walter Hopkins front, center, and sidescreen. Almost immediately the viewer’s brought to confront Hopkins’ complete embrace of identity. Shots alternate and contrast the co-existing versions of Hopkins: the to-the-elevens glittery drag queen and the dressed-down lounger. Curiously, Hopkins’ bandmate Liv Bruce is all but absent throughout the video, though they’ve issued an assurance that this is intentional and that Bruce will be prominently featured in the band’s forthcoming clip. It’s a strange move because the duo’s collaborative partnership is one of PWR BTTM’s defining characteristics but eschewing that aspect does allow for the band’s presentation of gender identity to be thrown into a sharp focus on an individual level rather than presenting it as a combined effort (even though the two aren’t mutually exclusive).

Of course, this does nothing to detract from the actual music itself, which- as always- is a deeply felt, ridiculously impressive composition. The band’s commitment to both aesthetic and craft is allowed to thrive in the music video format and “Ugly Cherries” makes the most out of that opportunity right out of the gate. While it’ll definitely be interesting to see what’s in store as a companion piece (and going forward from there), it’s incredibly hard to argue against “Ugly Cherries” being representative of the band at their fiercest. Glamorous, unapologetic, hallucinatory, and surprisingly forceful, it’s both obviously compelling and a perfect way to make a statement. Fortunately, that statement’s left with a lot of room for expansion- something the band will undoubtedly capitalize on with no shortage of conviction and mischievous glee.

Watch “Ugly Cherries” below and pre-order the record from Father/Daughter and/or Miscreant ahead of its September 18 release.

The Foetals – Malted (Stream)

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It’s been a strong week leading into the weekend and today’s end-cap kept that streak alive, offering up a variety of gems. Skeleton Frames’ “Leech“, Zenith Myth’s “Shadow Fortune“, Coke Weed’s “Dead Man Walking“, and The Nudes’ “Hex” were all unveiled and deserve a handful of listens. Kendrick Lamar’s manic, jaw-dropping “For Free? (Interlude)” more than made up for an otherwise lacking day for music videos (honestly, though, “For Free” would have overshadowed anything else). Sharkmuffin, Half Japanese, Deaf Wish, and Ultimate Painting all offered streams of great forthcoming records while Comfy and Skirts offered up a stream of their commanding split EP.

Today’s feature cycles back to the single streams and lands squarely on The Foetals’ delightfully scrappy  “Malted”. The second glimpse at the amusingly titled Meet The Foetals, it’s another perfectly crafted piece of the kind of wiry pop that’s securing Swedish label PNKSLM Recordings a foothold in national stateside coverage. Punchy, full of hooks, and unabashedly poppy, “Malted” is the kind of track that seems perfectly suited for summer but has just enough dusty nostalgic touches to tie that appropriate-listening aspect over to fall.

The solo project of Pink Teens member Jolan Lewis, The Foetals may wind up surpassing what, up to this point, has been  Lewis’ main vehicle. If the rest of the extremely promising Meet The Foetals lives up to its early flashes of potential, Lewis just may find his other moniker scattered throughout some genre specialists’ lists come December. Until winter rolls around and definitively beds that theory, the only thing that feels appropriate is sliding the volume on “Malted” up and continuously hitting repeat.

Listen to “Malted” below and order a copy of Meet the Foetals ahead of its release here.

Heat – This Life (Music Video)

heat

This summer, Thursday’s have offered up a glut of outstanding material vying for coverage and today’s field was no different. Since there are nearly two dozen titles to touch on, they’ll be listed by virtue of artist and the represented format before moving onto the featured item. As usual, the single streams category proved to have the most productive release slate and included great new tracks from Hazel English, Sleepy, Infinity Girl, The Chills, Dark Palms, Wavves, Night Flowers, Willis Earl BealBlank Realms, and Air Waves. Music videos found some entertaining life via clips from Someone Still Loves You Boris Yeltsin, Pet Cemetery, Kalle Mattson, Pink Frost, The Atom Age, and Pearl Charles. Topping everything off was a strong group of full releases that included releases from Worriers, Nice Legs, Fox Academy, Fog Lake, Suis La Lune, and Two White Cranes.

A lot of those band names are new to the site and Heat, who have today’s feature spot, are yet another new addition. Still riding high on the surge of last year’s excellent- and overlooked- Rooms EP, the band are now offering up a stark black-and-white clip for the release’s lead-off track. Using a minimalist approach to the visuals, director Jimmi Francoeur takes a few cues from some of Anton Corbijn’s formative work to create a sleek, engaging performance-sync clip. A room setup that’s clever in both construction and lighting lends an air of sophistication to the visually striking clip, while still allowing the bulk of the emphasis to fall on “This Life” itself, a punk-indebted powerpop number that cribs influences from a variety of other genres and sculpts it into something that manages to be both familiar and refreshing. In short: it’s a knockout from a band that deserves more attention than they’ve received.

Watch “This Life” below and pick up Rooms here.

All Dogs – Skin (Stream)

All Dogs V

Depending on the releases, some days are made easy and- while the reprieve is welcome- it can be disheartening. Then there are days like today, which offer a frustration spurred by more than a few releases being too good to settle on a definitive feature. For a large portion of the planning that went into this post, the intended feature was going to go to Ought’s most recent blistering, insistent masterwork, “Men For Miles“.  Even in those stages, the song had competition in the likes of Nabil’s jaw-dropping GoPro interactive design that acted as the moody clip for Foals’ fiery “Mountain At My Gates“.

It wasn’t as if that trio was without competition, either. Deer Tick’s gorgeous “Grandfather Song“, Faux Ferocious’ scuzzy “Nowhere To Go“, Team Spirit’s pulsating “Takin’ My Time (Never Enough)“, Doubting Thomas Cruise Control’s frenetic “Lenny Bruce“, Birthmark’s slow-building “Find Yourself” would have constituted an impressive field on their own accord. Elevating the difficulty was the fact two outstanding unique features surfaced in the form of an engrossing Tickle Torture documentary and a full recording of a recent set from Colin Bares (the songwriter behind The Weasel, Marten Fisher project), whose responsible for some of the year’s finest songs.

Even the full streams had a great day, with excellent offerings from bratty scuzz-punks Fox Face, the lo-fi neurotics in Ego, the punk-indebted basement poppers in Vamos, and the increasingly fascinating (and darkly tinted) world of Black Thumb. Rounding the day out were compelling music videos from Wild Ones, Oddisee, and Living Decent. Even with all of that taken into consideration, though, the day still ultimately belonged to All Dogs.

Having just released a surefire song of the year candidate in “That Kind of Girl“, the band was presented with the unenviable  task of selecting the follow-up track for their forthcoming record’s rollout campaign. A lot of different modes can be considered (and ultimately, selected) for this slot and “Skin” seems to fall into one of the trickier categories to pull off: the song that demonstrates the record’s range and scope. In the past, those songs have tended to fall more towards the acute version of sophomore slump than anything else but “Skin” hurdles those traps with no shortage of grace to all but ensure Kicking Every Day will be among 2015’s best releases.

All Dogs have never been shy about finding something beautiful in damage, something that’s been continuously driven home by the frequently devastating lyrics of Maryn Jones (who’s also a member of site favorites Saintseneca and Yowler, the latter being Jones’ solo outfit). “Skin”, over the course of it’s slow-building five minutes and change, finds Jones grappling with some of the prevailing themes throughout her discography: loneliness, self-doubt, resilience, self-sabotage, and quiet redemption. All of which continue to feel deeply personal, nearing a point of voyeurism that only grows more nerve-wracking as the song progresses.

Elevating the feeling of tension is the scintillating dynamic angle that All Dogs uncovered when transitioning their writing process to a full-band ordeal following the addition of guitarist Nick Harris. Every conceivable element that made the band so great to begin with gets amplified by this approach and the dividends are already paying off in startling fashion. The interplay between Jones’ and Harris’ guitar work is increasingly nuanced and the rhythm work’s even more emotive than it’s been in the past, contributing to some newfound atmospherics that complement the band to perfection.

Looking at the sheer magnitude of “Skin” in comparison to anything found on the band’s debut 7″ (which was reviewed in the sixth post to ever run on Heartbreaking Bravery) is revelatory. At the level the band’s currently operating, they’ve unlocked a seemingly boundless arsenal of styles to achieve increasingly varied effects. From the subtle, interlocking post-punk guitar work to the bruised euphoria of the chorus, “Skin” is a jaw-dropping indication of the band’s ever-expanding capabilities. Throw in an earnest, beating heart at the core and All Dogs’ future suddenly looks intimidatingly bright.

All that’s left at this point is to find out whether the band can top perfection.

Listen to “Skin” below and pre-order Kicking Every Day from Salinas here.

SPORTS – The Washing Machine (Stream)

SPORTS

As the week picks up, so too does the new release schedule. Great new songs saw first light today, featuring material from the following artists: OBN III’s, Minden, Grass House, Wolf Prize, OBNOX, and Places To Hide. Music videos fared just as well with some tantalizing clips that included Fake Palms’ oneiric “Sparkles“, BEAK >’s arresting “The Broken Window“, Flesh World’s tranced-out “Just To Tear Me Down“, Rocky Votolato’s deeply impressive “Hospital Handshakes“, and Communions’ striking “Forget It’s A Dream“. Rounding things out were the full streams, which featured fantastic entries from The Glow (a band led by LVL UP‘s Michael Caridi), Sloth, Adult Mom, Reservations, and Soviet X-Ray Record Club. Even in that slew of genuinely outstanding material, today’s featured item- SPORTS’ “The Washing Machine”- managed to stand out.

For a few years now, SPORTS have been kicking out the kind of scrappy punk-infused basement pop that dominates Salinas’ impressive roster (Swearin’, Radiator Hospital, All Dogs, Purple 7, etc.). The band recently signed with Father/Daughter Records (who have earned themselves a wealth of love from this site) for the release of their forthcoming full-length, the genuinely outstanding All of Something (which was, incidentally, engineered by none other than Kyle Gilbride of Swearin’). The band’s already teased the record with the energetic “Saturday” and offered another look earlier today with the release of “The Washing Machine”.

A touch more grounded than “Saturday”, the band’s latest is a show of both maturation and force, emphasizing a subtle southern sensibility (in a manner not too dissimilar from Hop Along) to produce one of their best songs to date. Like a (thankfully) increasing number of bands in the DIY fold, the band gets a lot of mileage from fixating on elements that constitute life’s minutiae rather than opting to retread the same tired territory. While the overarching narrative still hinges on a relationship, it’s the way the relationship is colored that sets the song apart from a lot of the band’s contemporaries. Balanced, nuanced, and unerringly heartfelt, SPORTS pack enough punch, grit, and scuzz into this 3 minutes and change number to run away with today’s featured spot.

Listen to “The Washing Machine” below and pre-order All of Something from Father/Daughter ahead of its October 30 release date here.

Meat Wave – Delusion Moon (Music Video)

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Clean slates are always an intriguing thing to fill and this week’s off to a strong start with great entries into all of the site’s regularly-covered formats. i tried to run away when i was 6’s “June July May“, Craig Finn’s “Maggie, I’ve Been Searching for Our Son“, and Palehound’s “Cushioned Caging” constituted a very strong field of representatives for the single song stream while there were fascinating clips to be found in Gold Class’ “Life As A Gun” and Springtime Carnivore’s “Other Side of the Boundary“. Full streams also found life via the first installment of Apollonian Sound’s charity singles series (featuring Algebra II and site favorites Radiator Hospital), Adult Dude’s fiery Adult Moods, and Los Manglers’ vibrant Between Worlds.

Today’s feature spots casts its lens on Meat Wave, a band that’s played a pivotal role in the development of this site and the music it covers. Their first record, an incredible self-titled effort, was the very first tape I ever wore thin in various spots. The trio was also one of the only bands to secure an On the Up inclusion (an assessment that’s continuing to come to fruition in some genuinely unexpected- and exhilarating- ways) and took part in the first Heartbreaking Bravery showcase. Now, they’ve signed to SideOneDummy and are upping the anticipation for an incredible record entitled Delusion Moon that will be out on September 18.

Meat Wave’s most recent move in the rollout campaign for Delusion Moon came earlier today with the unveiling of the video for the record’s vicious title track. Just as the song drives home a foreboding feeling with no shortage of a venomous menace, the video aims to unsettle in a similar fashion. Utilizing strobes and some inventive film editing, the Andrew Robert Morrisson-directed clip finds value and inspiration in aggressive minimalism, much like the music of its subjects. It’s a deeply disorienting watch, opting for a bold cognitive dissonance that’s presented in a way that feels removed from countless other clips’ meager attempts at producing similar results. Ultimately, “Delusion Moon” is defined by its convictions and the end result is a striking, memorable triumph.

Watch “Delusion Moon” below and pre-order the record from SideOneDummy.

Rebecca Ryskalczyk – We’re Brothers (Demo Stream)

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A lot’s happened over the past few days; some coverage has been delayed due to a duo of outstanding live shows. One of those shows (Jason Isbell’s incredible, moving set at Prospect Park earlier tonight) won’t receive a mention on this site beyond what was just written. The other, an intimate all-acoustic rooftop affair spearheaded by site favorite Johanna Warren, will surface in a visual spread sometime in the very near future. With both of those now in the past, it’s time to bring the site back up to the current release cycle.

In the interest of time, the artists that had interesting releases throughout the three main formats (single stream, full stream, and music video) will simply be listed without explanation as to what’s attached to their name. The vast majority of these were released two days ago and all of them are worth the click. Life’s surprising sometimes, so why not embrace the opportunity to provide a low-level risk and high-level payoff? There were the artists responsible for those treasures: Infinity Girl, HSY, O, Rrest, Futurebirds, Slonk Donkerson, Say Hi, Chelsea Wolfe, Steep Leans (x2), Cold Specks, Here We Go Magic, and EZTV.

Today’s feature piece actually comes from a few weeks back but hasn’t really shown up anywhere outside of its own release. It comes from the solo project of Bethlehem Steel‘s driving voice, Rebecca Ryskalcyzk. While the emerging songwriter’s still playing shows with her own vehicle, she’s also generously offering two new songs under her own name. Released under the title We’re Brothers, the pair of songs are arresting bare-bones guitar/vocal demos that have something inherently special happening at their core.

While it’s difficult to describe what exactly that is, it’s painfully obvious when the songs are in motion. “Brain Drugs” starts the small collection off and immediately sets the tone for what’s to follow; haunted, lo-fi, folk-leaning tapestries that seem to be settling in with their own demons rather than pushing for an escape. As mesmerizing as it is downtrodden, “Brain Drugs”- the opening track- is an intensely arresting piece of work that sets up the latter number perfectly (while also recalling, both in style and tone, one of the year’s best covers).

“Other Otters” follows, maintaining the deeply bruised feeling that lent its predecessor an acute sense of devastation. It’s a jarring sequence that drives a knife home in a powerful couplet towards the end: “the less I try/the more I’m terrified”- a perfect summation of a potentially damaging penchant for indecision. Ryskalyczk riddles both songs with a series of gut-punches that seem to be rooted in life’s minutiae while still managing to keep an eye on the big picture. It’s an impressive feat and an even more impressive collection.

Towards the bottom of Ryskalczyk’s bandcamp page that hosts this release, there’s a disclaimer that these songs will be “re-recorded for something more” and when that release rolls around, it’ll likely be worth a slew of purchases. Until they do surface, though, these demos carry more than enough weight to approach an unlikely perfection.

Listen to We’re Brothers below and pick it up over on bandcamp. Keep an eye on this site for more updates on both Ryskalyczk and Bethlehem Steel.