A few short days ago Aviv played host to one of Northside Festival’s most stacked showcases for one of Brooklyn’s most revered labels, Exploding in Sound, who were acting in collaboration with Gimme Tinnitus and Ipsum. Boasting no less than 10 bands, the showcase eventually transitioned into an endurance test that was made even more brutal by the severe humidity (as well as the seemingly continuous increase in attendance). Pairing those items with the fact that I hadn’t eaten all day meant- regrettably- being forced to miss the showcase’s latter half. All apologies to Wildhoney, Mannequin Pussy, Clean Girls, Sleepies, and Palm (each a fine band well worth seeking out).
While I didn’t stick the whole thing through my perseverance through the show’s first half was rewarded with strong sets from each band. Done and Nonsense immediately set about establishing a few of the lineup’s connecting threads, from off-kilter musicality to piercing volume to an unavoidable sense of subtle dread. Kindling (a band fronted by A Year’s Worth of Memoriescontributor Stephen Pierce) pushed the levels of deafening volume to their absolute limits during a gripping set that provided the perfect bridge between the first and last two acts of the showcase’s front half.
Both Kal Marks and Washer have received a fair amount of press from this site and were two of the showcase’s biggest draws. Neither disappointed. Kal Marks delivered a set that exhibited the band’s brutal strength and unfailingly bleak atmosphere- a very distinctive trait that remains unreasonably compelling. Deeply personal and deeply felt, their set was among the best I’ve seen this year. Not to be outdone, Washer came out of the gate swinging and had a neat trick up their sleeve. Frenetic and impassioned, their set was one highlight after the next, peaking with a surprise solo from Ovlov’s Steve Hartlett (Washer and Hartlett constitute the performing band for the latter’s current project, Stove).
Overall, the first half was an exceedingly impressive display for both the bands and the labels/publications involved in the showcase. By all accounts, the second half of the showcase kept the momentum’s pace surging forward. There’s no doubt in my mind that I’ll be taking advantage of future opportunities to cover each and every one of them at some point in the near future. Until then, enjoy a few photos and videos of Done, Nonsense, Kindling, Kal Marks, and Washer below.
The past few days I’ve been adjusting to life in Brooklyn with DBTS (an acronym for David Blaine’s the Steakhouse) being kind enough to take me under their wings and ease me into the transition. Being introduced to a culture that I’d already been familiarized with via the magic of the internet and word-of-mouth was a memorable experience and nothing solidified that more than being on hand to witness the first-ever appearance of Brooklyn supergroup Montana and the Marvelles.
After multiple cleaning sweeps and a day of decorating, DBTS was ready to play host to an unofficial wedding ceremony. The bride and groom-to-be, friends of the DBTS tenants, will be officially wed at a small, private ceremony. With that being the case, they decided to throw a party where their friends could celebrate their marriage ahead of the more intimate event. Guests dressed to the nines, alcohol was free-flowing, root beer floats and tacos were at the ready, everyone was all smiles, spirits were high, and fond toasts were given. After all the personal stories had been told and all the noisemakers had been given out, a band took the floor: Montana and the Marvelles.
At the outset of Montana and the Marvelles, the band was uncertain whether or not their intended wedding project would be a one-off; the details were kept secret. Now, one gripping performance into what could be a very fulfilling path, the band’s made a commitment to playing more shows (and have graciously allowed me to offer their official introduction to the world at large).
Made up of members of several high-profile Brooklyn bands, including site favorites like LVL UP, Sharpless, and Painted Zeros (among others), the band’s more than likely to generate some interest. Unsurprisingly- especially with the caliber of talent involved- the band’s live show is stunning. Suave and genuinely finessed, they play as sharp as they look. As for the song selection- at least on this particular night- it’s just about flawless. Ranging from Etta James to Angel Olsen, it provides the band’s deeply charismatic vocalist and central character- Montana Elliot (of Sharpless)- a considerably impressive showcase.
Montana and the Marvelles were in fine form from the very beginning of the first song, catering perfectly to the crowd. As their set progressed, they made sure to include accommodations for their guests of honor; a first dance, a surprise performance that roped the groom into the band, and a few more twists were incorporated. Each new song (or surprise moment) continuously elevated the level of collective exuberance cultivated by the small (but enthusiastic) party. By the time all of the scene-stealing solos had been torn (courtesy of LVL UP‘s Nick Corbo), all of the showstopping vocals had been sung, and a particularly fierce rendition of “Dancing in the Dark” had been played to close out an incredibly spirited set, it was abundantly clear that Montana and the Marvelles had locked into something that transcends the typical wedding band.
Fortunately for all of us, they’re ready to keep going. If you’re in need of a band to play your wedding, bar mitzvah, bat mitzvah, commitment ceremony, prom, or nearly any other formal event, don’t hesitate to send a message their way; it’s already hard to imagine you could find anything better.
Enough small talk and exposition; it’s both an honor and a privilege to present Montana and the Marvelles to the world. Photos and videos of the band can be found below.
A lot of the coverage on this site is going to look a little different in the coming months. As much love as I have in my heart for Wisconsin, a change of scenery was necessary. After a long day of travel and some time to explore, a show felt necessary. One attended by a handful of contributors to last year’s A Year’s Worth of Memoriesseries, thrown by one of this site’s most-covered labels, and headlined by the band that topped this site’s list of the best 2014 EP’s and “necessary” turned very quickly to catharsis. Shea Stadium packed in a reasonable crowd, each one seemingly devoted to either one or all of the bands, despite the considerable humidity essentially rendering the venue a sweatbox.
Pupppy, Rivergazer, Diet Cig, Attic Abasement, and Charly Bliss were all in fine form and there was a very palpable and genuine love running throughout each respective bands for the music they were making. Some opted for a more relaxed route (Rivergazer, Attic Abasement) without sacrificing any of their innate magnetism while others took a more frenzied approach (Diet Cig, Charly Bliss). Pupppy kicked things off by splitting the difference between the two extremes. The sound was incredible throughout, the crowd was dancing, and spirits were high. In all, it was a perfect jumping-off point for NYC coverage and a heartening reminder that all the ill-informed naysayers about Brooklyn’s DIY scene being dead are still completely, unequivocally wrong.
Scan through a photo set and video set containing pictures and clips of each band below.
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1. Pupppy – Outkast 2. Rivergazer – Lonely 3. Diet Cig – Dinner Date 4. Attic Abasement – Sorry About Your Dick 5. Charly Bliss – The Golden Age 6. Charly Bliss – Dairy Queen
7. Charly Bliss – Pacer
Once again, this will began with the two necessary prefaces to all of the year-end list coverage: “best” is a term used loosely as it’s a reflection of personal taste and the first person restriction will be lifted so that these lists can be as direct- and as personal- as possible. Over the past few weeks I’ve gone through thousands of releases (revisiting in most cases but discovering in a few others), organizing, reflecting, and ranking every single one that caught (or continued to catch) my ear. This list and all of the ensuing lists have been condensed to 14 selections representing the very best of 2014 and, in addition to those picks, there’ll be an auxiliary list of every release (with hyperlinks provided when applicable) that I considered putting into the top 14. After all of these lists have gone up, there will be a multi-part project that provides a fitting end-cap to this site’s 2014 coverage. Since the title’s somewhat ambiguous, it’s probably worth noting that the releases taken into consideration for this particular list included flexi’s, plexi’s, CD-R’s, demos, online singles, and other titles only available digitally (or on cassette). Additionally, there will be a few other singular “best” efforts in niche categories above the long list. So, without further ado, here are the 14 best online singles (and other assorted oddities) of 2014.
14. New York – 20 Minutes From Here
20 Minutes From Here is the exhilarating sound of what happens when you throw members of Iron Chic, Shang-A-Lang, Low Culture, and Jonesin’ into a room with instruments. It’s a hastily recorded and scrappy as hell collection of fiercely energetic basement punk songs that (even with the unabashedly lo-fi aesthetic) rank among the best entries of the considerable careers of everyone involved.
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13. Dan Webb and the Spiders – September Demos, Perfect Problem
One of the first things I noticed about Dan Webb and the Spiders’ two 2014 releases is that they have a distinctly Midwestern feel, despite the band’s Boston residence. While that may stand out as a curious anomaly (if not entirely unprecedented- Springsteen’s from New Jersey, after all), it’s a small fact that pales in comparison to the band’s casual brilliance. Both their demo reel and Perfect Problem suggest this is a band that’s latched onto something that should open quite a few traditionally sought-after doors.
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12. Grubs – Dec 15/Gym Shame
It’s unsurprising to learn that Grubs and Joanna Gruesome share at least one common member; both bands exist in the exact center of Reeks of Effort’s wheelhouse. Sly, somewhat cynical, partially twee, and entirely vicious, Grubs’ teaser effort’s an extraordinarily tantalizing appetizer. If the album they’re currently recording lives up to what they’ve achieved here, 2015 will be due for a very strong highlight.
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11. Sea Ghost – Spokes/Gold Teeth, Cave Song
Sea Ghost are another band who, like Dan Webb and the Spiders, turned in a few unexpectedly powerful efforts to start their careers off in 2014. Between the gently propulsive trio of “Spokes”, “Gold Teeth”, and “Cave Song”, they’ve come out swinging. With those three songs, they’ve already managed to exude a greater sense of identity and refinement than most bands manage to conjure up in their careers. Operating with subtlety, nuance, and verve, they’ve more than earned a status as a band worth following.
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10. Earth Girls – Demo 2014
More than a few outstanding demos surfaced over the course of 2014, Earth Girls’ punchy take on the bridge between basement punk and powerpop managed to exceed even those high standards. Dark undertones permeate throughout each of these five songs, which are recorded in a way that accentuates their formidable atmosphere and relentless power. Reminiscent of Nervosas with an extremely heightened affinity for powerpop, it’s no surprise that the band’s next release is due out on a label as revered as Dirt Cult.
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9. Dark Thoughts – Four Songs
One of the strongest basement punk releases over the course of the past 12 months was a four song demo debut that embodied some of the genre’s best qualities. Incendiary guitar work, venomous vocals, ferocious (and ferociously short) songs, and a palpable level of varying frustrations and unease. It’s brisk, it’s to the point, and- importantly- it’s memorable.
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8. Broadbay – Demo(n)s
I can’t stress enough how strong the crop of demos from 2014 wound up being. That Broadbay’s insanely strong Demo(n)s isn’t even the highest ranked demo release in this list should say quite a bit about this very welcome aspect of the past year. Visceral, engaging, and powerfully dynamic, Demo(n)s is a resounding announcement heralding the arrival of Broadbay- and it’s one hell of an arrival.
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7. Mulligrub – Canadian Classic
Over the course of this site’s 14 month existence, I’ve been fortunate to receive a handful of emails from bands containing great music that didn’t get the amount of press it deserved. Mulligrub’s Canadian Classic was one that connected with me immediately. As such, nearly every reason for why this is appearing in this list has already been laid out. Those reasons haven’t changed.
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6. Toby Coke – Face Taker
Last year, Joseph Frankl (also of The Frankl Project) wound up cracking one of these lists with a strong solo release. Frankl outdid himself this year with another solo project, this time operating under the moniker Toby Coke. “Face Taker” may only be one song but it more than illustrates Frankl’s enviable skills as a songwriter and hints at Toby Coke being a project that could pay massive dividends. It’s also yet another instance of my initial thoughts growing even more certain.
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5. Trifles – Demo
Trifles’ Demo seemed to come out of nowhere but when it hit, it made sure everyone felt its mark. Dark and unforgiving, this is the crowning jewel of a very specific new, emerging breed of post-punk. Taking all of the aesthetic and emotional cues from bands like Pleasure Leftists and integrating them with something easily accessible (while also managing to take some cues from hardcore) made this one of 2014’s most fascinating releases in any format. Unsurprisingly, it’s also one of the best.
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4. Infinity Crush – Heaven
One of the year’s finest songs was relegated to a modest tumblr post, which somehow fit the song’s nature to a tee. “Heaven” may be the quietest song on here but it’s also the most emotionally-charged (and devastating) to have come out in 2014. As a public self-examination, it’s alarmingly brutal and frighteningly heartfelt. “Heaven” is a deceptively cruel title for a song that’s dressed up beautifully but is secretly bruised all to hell.
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3. Dweller On The Threshold – Decimal Spaces, Ollie Ox & Free, Barnfire
Looking at Dweller On The Threshold’s lineup (and their respective correlating pedigrees), it shouldn’t be surprising that the music they’ve been slowly unveiling has been masterful. Members of Parquet Courts, Kindling, Ampere, Death to Tyrants, and Daniel Striped Guitar are all involved in this project that blurs the lines between post-rock and shoegaze more successfully than just about any band making similar attempts. All three songs the band’s made publicly available have been towering genre masterpieces leading up to what’s promising to be a breathtaking full-length debut.
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2. Bent Shapes – 86’d in ’03
“86’d in ‘o3” isn’t just the best song of Bent Shapes’ career, it’s one of the best powerpop songs to emerge from the past few years. Backed with “Bridgeport Lathe” on a lathecut picture plexi disc, it’s also one of the year’s more curious limited run items. I’ve already detailed my love for the A-side but “Bridgeport Lathe” has managed to sneak its way into my subconscious. Both songs complement each other in odd ways, demonstrating the considerable range that makes Bent Shapes one of Boston’s more celebrated local acts and both songs are strong enough to land them a spot on this list.
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1. Slight – Run
Between this and LVL UP’s Hoodwink’d, drummer Greg Rutkin had an absurdly strong 2014. No two-song release was stronger than Slight’s follow-up to their excellent townie490EP. With members of site favorites Trace Mountains and Painted Zeros also involved, it probably shouldn’t be too surprising that this wound up taking this spot. In the review I originally posted, the emphasis fell on the influences the band turned to as touch points but largely eschewed the band’s unwavering sense of atmosphere. I don’t know if it’s the production, the tones, or just a happy accident but it’s hard not to think of the band practices and basement shows where everything just clicks while listening to both of these songs. There’s grit, determination, sweat, and an unfiltered sense of joy and affirmation reverberating throughout all five minutes and forty seconds. Run is imbued with a celebratory sound (whether the intention was willful or not) and it’s a release well worth celebrating.
*This is an extended recording of the session that Live at Splendour in the Grass, which is no longer publicly available, was taken from for its official release.
2014 releases from this category that deserve to be heard:
Ever since LVL UP let “Soft Power” loose on the world, it was clear that they were operating on another level entirely; a really good band achieving greatness. The three songs that followed- “I Feel Ok“, “DBTS“, and “Ski Vacation“, respectively- all continued to enhance the expanding promise of Hoodwink’d, the record they were previewing. Each of the four songs had a very distinct style, lending some additional credence to the individual members’ stylistic tendencies towards creating songs that work perfectly as standalone numbers but function best as a complementary package. To that end, it’s probably not surprising that Hoodwink’d feels like a career best-of retrospective, despite the fact it’s only the band’s second full-length.
When LVL UP started, their approach was to simply write good, short pop songs. It was a winsome trait that helped establish them as New York’s finest purveyors of outsider pop- and defined Step Brothers, their outstanding introductory effort. While Hoodwink’d still operates in similar territory (the title track is 39 seconds, after all), their sonic palette is broadened considerably and allows for a step up from the band’s previously lo-fi production tactics, which winds up providing the band with a greater sense of urgency. Frequently droll (and fiercely witty) lyrics collide with a sharp immediacy and a murderer’s row of spectacular melodies in just about every one of Hoodwink’d‘s 15 songs, simultaneouslyone of 2014’s most diverse and unified non-compilation records.
From the drum shuffle that kicks everything off in “Angel From Space” to the fuzz-heavy feedback that draws the whole thing to its close, LVL UP inject Hoodwink’d with the sort of brazen confidence that usually suggests a band operating at the height of their powers. Throw in a sense of subtle ennui (usually manifested in the vocal performances), a seriously impressive slew of impassioned arrangements, and a staggering amount of personality and Hoodwink’d becomes even more compelling. Importantly, it should heavily resonate with a few of this generation’s subsets by virtue of being an astonishingly accurate presentation of the aspects by which they’re generally defined. All of that is circumstantial, though, and would never have come into play if it weren’t for one inescapable fact: this is an astoundingly great record.
Virtually every aspect of the band’s early promise is capitalized on in thrilling fashion, with each member consistently turning in career-best performances all throughout Hoodwink’d. These are songs that feel completely of-the-moment but have a sense of an indefinable timelessness, hinting that this may be a record with the kind of longevity most bands spend entire careers trying to produce. Whether it’s the fractured basement pop of “I Feel Extra-Natural” (which is one of several songs to feature auxiliary vocal work from Elaiza Santos), the relatively downtrodden “Hex“, or the unease-and-resolve back-and-forth of “Medication“, none of the material on display feels even remotely esoteric. Moreover, LVL UP seem to have pinpointed a new propensity for absurdly engaging material that also heavily rewards investment. All of which is just to simply state, once again (and this can’t be emphasized enough), this is an astoundingly great record.
From song-to-song, there are no weak links to be found. It’s a masterpiece in miniature, something that perfectly reflects the punk-leaning micro-pop songs that are responsible for the bulk of the record. Everything that LVL UP put into Hoodwink’d seems to serve several purposes with an unfailing consistency. Even examining the aspects of the record that most cast off as unimportant, like sequencing and mastering, it’s difficult to find any glaring flaws. Sure, the brand of music the band traffics in will probably always fall into critical acclaim more easily than commercial success but that’s frequently the price of artistic integrity- something LVL UP has in spades. Ultimately, what LVL UP have wound up with isn’t just a career-making exclamation point, it’s a record that may very well wind up being viewed as one of 2014’s most definitive entries into today’s constantly shifting musical landscape- and it’s an absolute stunner.
Listen to Hoodwink’d below and order it from one of today’s best labels, Double Double Whammy (who teamed up with Exploding in Sound for this release), here.
After a surprisingly slow Monday, Tuesday’s offered up an expanse of riches that included (but weren’t limited to) an incredible Beat Happening cover by Girl Band, a spectacularly lush new offering from Kevin Morby, a stunning demo from the dearly-missed Jason Molina’s Songs: Ohia project, a fierce first look at Vetter Kids’ upcoming Logan, and a strangely hypnotic- and extremely visual- music video from Bear In Heaven. Even with all of that factoring in, it just wouldn’t feel right to neglect LVL UP’s “DBTS” today’s featued spot. After all, it’s entirely likely that Hoodwink’d will wind up as this site’s pick for Album of the Year (if it doesn’t scratch the top 3, then everyone’s in for one hell of a last quarter).
Following both “Soft Power” and “I Feel Ok“, “DBTS” showcases yet another side of LVL UP- one that’s influenced by sludge as much as it is outsider pop, which is something that’s especially visible in the song’s outro. Somehow, it winds up working as well as anything else the band’s ever done. There’s a brutality to “DBTS” that, while not entirely absent from their past work, is emphasized heavily here. Distortion and low-end get pushed to their breaking point, crackling and hissing with a determined relentlessness as everything surges forward. “DBTS” brings Hoodwink’d to its midpoint and goes a long way in setting the stage for what’s to come- but makes a big enough impression to ensure that it gets a very large number of repeat listens. September 23rd can’t get here soon enough.
Stream “DBTS” below and pre-order Hoodwink’ddirectly from Double Double Whammy (who, incidentally, are having an absurdly strong year) here.
For better or worse, Perfect Pussy has become inextricably linked to this site. Vocalist Meredith Graves was one of the first to know that it existed- and that’s no mistake. There’s a courageousness that both she and the rest of Perfect Pussy exhibit frequently in regards to topics that deserve to be talked about far more often. Whether it’s the name itself calling awareness to some of the more inherent problems of pornography, the infuriating persecution of femininity, the overwhelming lack of diversity present in today’s most celebrated music, the trials of both depression and body image, or the emphasis on individuality, they’re always willing to be vocally active about taking the most humane stand. There’s a no-nonsense, no-tolerance policy on any institution or school of thought promoting unjust oppression that attracted me to the band as it was something I wanted to incorporate and endorse on Heartbreaking Bravery. With Graves at the center, it only made sense to reach out to her after this site began- which wound up leading to what is still this site’s first and only interview piece (where, coincidentally, their split with Joanna Gruesome was first announced). After all, her band was a very explicit part of what inspired this place’s existence.
Since then, I’ve followed them to Chicago, Minneapolis, and Toronto, seen them play to crowds of 30 people and more than 3,000. I’ve abandoned my exclusion rule on first-person narratives specifically for them because the only way that I feel I can properly define their music is by my personal reactions to it. There’s a naked honesty to the band that hinges on Graves’ devastatingly impressive lyrical prowess but is enforced in full by the sonic brutality that surrounds them. Prose is met with raw power and neither lack immediacy or longevity, meaning that not only do the band’s values line up with this sites- their music is a perfect fit for what Heartbreaking Bravery tends to celebrate most emphatically. In a sense, they’ve become extended family and it’s been a privilege to watch them grow as this site has progressed alongside them.
All of that said, it only feels right to forego another general rule-of-thumb and shine a light on their recent Sugarcubes cover. It’s technically their first properly released cover as a full band, considering the still-outstanding “Candy’s Room” take was delivered by an abbreviated lineup of the band who rounded themselves out with outside help. Their are similarities between that cover and this stunning take on “Leash Called Love”, with Graves’ lightly distorted (and sweetly sung) vocals playing perfectly alongside a propulsive bed of noise that occasionally borders the irreverent, in essence becoming a note-perfect homage to both Sugarcubes and Björk in general. In a months-old text, Graves explained to me that during this particular recording she had no voice after four months of touring and was unable to hit any of the notes- the strain doesn’t show, though, and “Leash Called Loves” is the band’s breeziest work date, coming off as both light and sounding impressively effortless while still packing one hell of a punch. With Joanna Gruesome being the band on the other side of the split, the release is coming into its own after Perfect Pussy’s reveal, considering that they too have now managed to intertwine a sense of twee and fierce noise with both precision and panache.
In a tried-and-true fashion, four of the members of Perfect Pussy allow themselves to cede into the background in favor of letting noise-master Shaun Sutkus manipulate the mood of the song, this time going for something intense and foreboding that re-contextualizes much of what came before it as Graves’ vocals get turned into a nightmarish, distorted ambient wall. It’s a jarring left turn that plays to the band’s penchant for subversion. Effectively breaking up the song into two halves, it’ll also go a long way in lending their side of the split an even more complete feel. With Joanna Gruesome’s “Psykick Espionage” now out in the world, it’s relatively safe to assume that this split will be among the best of the year and a must-own item thanks to not only the songs but Phil McAndrew’s incredible politically-minded artwork and his supplementary comic book that the split will ship with. As always, Captured Tracks will be responsible for Perfect Pussy’s side, and both Slumberland and Fortuna POP! will be representing Joanna Gruesome. All three labels will be going in together on the release, ensuring it the built-in audience that it deserves. If this doesn’t cement both Perfect Pussy and Joanna Gruesome as two of the best bands we currently have the honor of experiencing, I’m not sure what else possibly could.
Listen to “Leash Called Love” below and make sure to own a copy of the split as soon as that becomes a possibility.
Over the years it’s become increasingly evident that their are some cassettes that it’s next to impossible to eject from a deck once they’ve completed their rotation- not because of technical difficulty but because of how good the record on the tape is. Stupid Bag Records have had a direct hand in quite a few of them (every Swearin’ tape, Acid Fast’s Rabid Moond, Dead Dog’s Precious Child, etc.) and recently, one of their releases possessing that insane amount of gravitational pull was given an LP release over at the always-outstanding Mandible Records: Even Hand’s self-titled full-length debut.
Even Hand boasts a sound that feels like it’d fit comfortably between both Sunny Day Real Estate and The Wrens at their respective peaks, without sacrificing an inch of their DIY punk roots, which is an impressive achievement, to say the least. In a small way, it makes them a sort of spiritual kin to Haunted Heads, even if Even Hand’s a little more wiry and more in line with the Steve Albini school of thought when it comes to presentation. That keen attention to detail is something that serves them well throughout the course of Even Hand and helps the record feel like an absolutely vital release.
Starting with a trio of songs that establishes both the band’s sound and the tone of the record, Even Hand wastes no time in commanding the listener’s attention. “Glacial Blue”, the record’s opening track, recalls a much more precise and mannered Parquet Courts without losing any of the nervy tension that dominates the kind of wry post-punk both bands traffic in. “The More It Shows” reveals the band’s just as comfortable delivering charged-up bruisers as they are at displaying raw nerve. “Your Wall” rounds out the opening blitz with a lilting melody and a slow-burning sonic template that’s indebted to the very best of emo’s golden era without being completely defined by that genre.
From there, Even Hand manages to steadily build it’s momentum while carving out new niche areas of all the genres that factor into what make them such an engaging band on record. While the furiously paced”Down the Lighted Strip” may be the record’s most definitive moment, it’s Even Hand‘s quietest moment that manages to stand out most. “Leaning Home” is the track in question and it arrives at roughly the 3/4’s mark of the record, providing bandleader Mike Borth an arresting solo moment. Everything goes quiet for “Leaning Home” and Borth makes the most of it, providing Even Hand with some of his sharpest guitar work and a set of lyrics that cuts deep by confronting familial conflict in a manner that feels intensely personal. It’s the record’s longest song (though it doesn’t feel like it) and earns every last second of its runtime.
Appropriately, it’s followed by an ambient stretch before “All Tenses All Time” kicks things back into overdrive and showcases the natural ability of Even Hand’s rhythm section, with Dominic Armao lending the record no shortage of propulsive bass line and drummer Dan Edelman providing a deeply impressive set of chops at a pace that frequently borders the manic. Both Armao and Edelman give the record a lot of its heart while Borth shapes it with an enviable sense of personality. All three pull out a variety of stops for the closing track, “I’m Not Concerned”, giving listeners one final reminder of what each is capable of on their own- and what the band’s capable of as a collective. “I’m Not Concerned” winds up being an appropriate final highlight on a record littered with other ones- and when it’s over, all that’s really left to do is let it play itself over again. Even Hand is a record that deserves to be heard- as many times as possible.
Listen to Even Hand below and make sure to not live life without either owning the cassette or the LP.
Let’s start this off by getting unconventional: Green Dreams were the first band to send this site music for review/feature consideration. After being told to keep in touch following that initial exchange, they lived up to their promise of doing so. That led to subsequent coverage of a music video, an incendiary song, and that song’s inclusion on an early best-of playlist. Now, the 7″ that the song “Eye Contact” had been teased from is available for streaming in full- and it sees the band absolutely annihilating their previous high-water mark.
Each of the four tracks on Rich Man/Poor Man feature the band playing with a renewed sense of vigor, a tighter focus, and indulging their heavier hardcore tendencies. With pinpoint precision, the band bludgeons the unwitting into submission by virtue of the high-impact punishment they unleash here. From the opening duo of songs that gives this 7″ its name, the level of confidence on display is almost staggering- but that confidence is earned in full. “Rich Man” sets the bar high with a furious hybrid of sludge, hardcore, and post-punk. Guitarist and vocalist Jesse Amesmith has never been in finer form, spitting each new lyric out with an astonishing sense of purpose. Equally impressive is the furious rhythm section interplay between drummer Trevor Amesmith and bassist Ben Kruger- something that comes into even sharper focus during the explosive final minute of “Poor Man”.
While the only essential additional thing to be said about Rich Man/Poor Man‘s excellent closing track is that it provides a great end cap to an extraordinary release, it’s probably worth noting that it’s still among the best songs to have been released this year. Even with that being the case, it’s certainly possible that one of the small handful of songs to top it is “Country Mouse”, the one that immediately precedes it. More than any other song on Rich Man/Poor Man “Country Mouse” radiates Green Dreams’ newly sharpened fierceness. Blasts of noise-punk that threaten to verge into the realm of total chaos and tear the song into multiple shreds keep intruding in on the verse while the chorus sounds like it’s fighting to hold itself together. Shards of feedback lash out at the high-intensity guitarwork and the whole thing winds up being an absolutely essential listen (a major tip of the hat is also due to Shaun Sutkus, who worked his usual recording room magic to help give this a subtle, extra kick).
All suspicions of this 7″ being a must-own have been confirmed. What will easily stand as one of 2014’s best at the end of the year is now available for purchase through Cherish Records or Green Dreams’ bandcamp. Don’t miss out on this. Grab a copy while they’re still available.
Listen to Rich Man/Poor Man below and pick it up by following the hyperlink above.
Once in a rare while there’s a band that springs up suddenly and immediately hits all the right notes, sweet spots, and pleasure points. They’re the kind of bands that are immediate, engaging, and reveal untapped expanses of potential while still managing to come across as fully-formed just out of the gate. Enter: Jawbreaker Reunion. With only two EP’s to their name, this Annandale-on-Hudson, New York quartet just self-released their debut full-length Lutheran Sisterhood Gun Club and are set for some serious gate-crashing.
There’s a very unique, very distinct mixture of intelligent humor, depth, and an incredible amount of pop sensibility on display throughout Lutheran Sisterhood Gun Club that sets it apart from a lot of its peers. All the songs are catchy as hell, bristling with attitude, and manage to pack a knockout punch in just under 18 minutes. From album opener “Empire” onward, it’s made abundantly clear that the band’s tapped into something special by utilizing a fairly original approach to combining key characteristics of great soul, surf, doo-wop, powerpop, and punk (for that fact alone, if this record doesn’t wind up getting pressed to wax by someone, it’ll be a travesty).
While most of the songs on Lutheran Sisterhood Gun Club only run about a minute and a half, a few managed to break the two minute mark- including the incredible highlight “E.M.O.”. Riding a crest of gently propulsive riffs, the band explore territory that’s just a few shades darker than the rest of the record and wind up with not just the best song on the record but one of the best of the year. When the chorus of “I don’t want to wait anymore, you don’t have to wait, accepting that there is no cure” rings out a final time, it feels unflinchingly honest. It’s a rare moment where the band allows their guard to fall down- and instead of cloaking their missives in biting humor, they opt for a brave vulnerability. It’s extraordinary.
They don’t let the moment linger too long, though. In the very next song, there’s the gleeful couplet of “So just go ahead and try it/I’m a fucking pussy riot!” buried in a song that’s built around challenging gender identity. Most of the songs on Lutheran Sisterhood Gun Club are either socially or politically pointed and all of those points are exceptional- and exceptionally well made. It’s a record that’s not afraid to back down from a fight, which is a fact that’s never more crystallized than it is on than on profanity-laced closer “Jeggings”. Tapping into a deep well of anger and frustration, their final rallying cry gets directed at body image discrimination and winds up summarizing everything Lutheran Sisterhood Gun Club stands for.
After “Jeggings” throws it out its final “Ass” chant, the band’s torn through 10 tracks and wound up with a perfectly paced, masterfully sequenced, and astonishingly great debut (one that’s made even easier to love after finding out it was recorded in a living room and bathroom). Shots get fired, a wide selection of earworms get revealed, an endless amount of smiles are more than earned- and Lutheran Sisterhood Gun Club stands tall as one of the very best of 2014. Don’t be surprised if this one winds up on more than a few folks’ year-end lists. It’s already approaching a direct guarantee for one of them.
Listen to Luthan Sisterhood Gun Club below and get inspired.
Heartbreaking Bravery 