Heartbreaking Bravery

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Tag: Nick Corbo

The Best of December 2018: Songs, Music Videos, and Records

Only a few days have passed since we turned to a new calendar year and everyone’s looking ahead to resolutions. While that’s a natural way to progress, sometimes it’s worth casting a glance back, especially when the recent past was so fruitful. In all three of the major release categories (songs, music videos, and full streams), there were gems unearthed throughout December. This post is one last look at a very specific slice of 2018 before this site catches up to everyone else and reveals its picks for Music Video, Song, and Album of the Year. In honor of a recent series of tweets from Small Albums, all of the reviews below will be two sentences or less. A few of the selections below might even make an appearance. Hedge your bets on which by exploring all the offerings below.

SONGS

1. Very Jazzed – Get A Job

A tongue-in-cheek post-punk rambler that’s as defiantly joyous as it is self-deprecating. “Get A Job” finds Very Jazzed in an immediate, accessible mode that suits them perfectly.

2. Guided By Voices – My Angel

One of the most dependable acts of the last few decades keeps surging forward with “My Angel”. A characteristically brief burst of energy, melody, and understanding from Guided By Voices.

3. Tørsö – Grab A Shovel

“Grab A Shovel” more than shows why Tørsö have become a revered emerging force on the DIY hardcore circuit. Gnarled, snarling, and unforgiving, it’s a monster of a track from an act worth following.

4. The Gentleman Losers – Make We Here Our Campfire

The Gentleman Losers crafted an enigmatic beauty in their recent Make We Here Our Campfire, a record headlined by its spellbinding title track. Melancholic and intuitive, “Make We Here Our Campfire” grips the senses like a vice, pulling the listener in until the very end.

MUSIC VIDEOS

1. Eerie Wanda – Sleepy Eyes

A hybrid clip for Eerie Wanda’s “Sleepy Eyes” serves as a perfect complement to the song. Part lyric video, part traditional footage, “Sleep Eyes” takes a simple concept and guides it to memorability.

2. Amos Pitsch – Piece of the Season

Tenement and DUSK‘s Amos Pitsch returns to the holiday spirit after 2017’s Lake Effect with “Piece of the Season”. Delivered in tandem with partner Julia Blair’s “Merry Christmas (To the Ones Who Are Lonely)“, “Piece of the Season” sees Pitsch surrounded by quintessential hallmarks of a Wisconsin winter (and delivers one of the year’s best shots in a quick-hitting sledding sequence).

3. Spirit Was – Golden Soul

LVL UP‘s dissolution may only be a few months in the past but its members are already going full bore with their new projects, including Nick Corbo’s Spirit Was. “Golden Soul” is a beautiful introduction-at-large to the project, the moody visuals perfectly suited to Corbo’s slow-burn songwriting mentality.

4. Noname – Blaxploitation

“Blaxploitation” is delivered not just as a music video but as a film, suggesting Noname‘s visual ambitions are just as bold as the ambition evidenced in the music. Playing off the monster movie film canon to supplement a pointed social commentary, “Blaxploitation” earns the film designation.

5. La Dispute – Rose Quartz / Fulton Street I

Every so often, something that’s so tethered to something deeply personal gives me reason to break this site’s “no first person” clause and in the case of La Dispute‘s gorgeously animated “Rose Quartz / Fulton Street I” it’s this: I was in a horrific car accident after a deer jumped a barricade on the interstate and left my partner’s previous car as a total loss. A scene, with some added symbolism, of an extremely similar nature is depicted throughout this clip and explores something that feels unflinching honest in its surreal, gently nightmarish portrayal.

6. Phoebe Bridgers – Killer

Phoebe Bridgers Stranger In the Alps is holding strong as one of the better records of the past few years and the sublime, crisp black-and-white clip for “Killer” serves as a stark reminder of its potency. A tender, engaging clip for a song worthy of this kind of treatment.

FULL STREAMS

1. Mister Goblin – Final Boy

While Two Inch Astronaut has taken a bow, Sam Woodring is still going strong, a fact evidenced by a sterling debut effort from the songwriter’s newest project, Mister Goblin.  Keeping Two Inch Astronaut’s core sensibilities intact but providing them a slightly lighter sheen, Woodring finds a joy in exploring some (mostly) untapped spaces and that joy translates into a rewarding listen.

2. pting – beep beep

beep beep stands out as a charming effort from pting pting, offering three tracks of punk-indebted slacker pop that are worth every revisit.

3. Strange Ranger – etc.

A project that’s been a site favorite for a few years keeps finding intriguing ways to evolve. etc. is a fascinating left turn for Strange Ranger but one that’s in keeping with their recent exploratory bent, finding them in a bed of acoustic warmth that still has room for the electronic-heavy collaborative closer.

4. Lrrr & Maxshh – Thank You, Lrrr, You’re Welcome Maxshh

Thank You, Lrrr, You’re Welcome Maxshh is an endearing split release from Lrrr and Maxshh, which finds the two projects squaring off, collaborating, and contributing a Frankie Cosmos cover for good measure. A mid-fi bedroom/basement pop triumph.

5. Laura Stevenson – The Mystic & The Master

One of today’s most underrated songwriters returns and offers two strong, heartfelt tracks of contemporary folk pop. Imbued with empathy and subtle artistry, “The Mystic & The Master” and “Maker of Things” are more than deserving of their place in Laura Stevenson‘s discography.

6. Spirit Was – Golden Soul

As stated above, though LVL UP’s gone, multi-instrumentalist Nick Corbo’s most certainly not. Golden Soul finds Corbo sinking deep into contemplation while clinging to a torch, ready to set everything ablaze at a moment’s notice.

7. Another Heaven – FOR EVER FOR EVER FOR EVER FOR EVER FOR EVER FOR EVER

While FOR EVER FOR EVER FOR EVER FOR EVER FOR EVER FOR EVER is a title destined to have people counting on their fingers, the songs it contains are more likely to make listeners feel a sense of awareness. Urgent, thoughtful, and nearly overwhelming, Another Heaven have released a behemoth of an EP that stands among 2018’s finest releases.

LVL UP – Orchard (Stream, Live Videos)

A note here, before things get too much further. I try to make it a habit to not write or use a first person perspective on this site and when I do make an exception, it’s to convey the personal connection I have to the material. LVL UP‘s goodbye note and their swan song might go beyond being just personal. Theirs was a band I loved fiercely, from the very moment my friend Sasha introduce me to them at her Chicago apartment. All it took was one live video for me to feel like I was being leveled; they were operating in a genre I loved but subverting it in a way that legitimately obliterated (and subsequently redefined) how I approached writing my own music.

From that point forward, I would listen to the band obsessively. I got to know their side projects, the bands they were in that preceded LVL UP, the bands they were forming. The first time I saw them was with Sasha again at Beat Kitchen in Chicago, where we all shared a meal with Mitski, who was touring alongside the band and in the early stages of becoming a legitimate powerhouse. Over the course of that day and getting to know the people in the band, there was a palpable kindness that was extended to me, operating without the knowledge that I was the one who labored over multiple pieces dissecting what made their music so distinct and so important.

They’d find out by the end of the night and respond in kind but by then, they’d already established themselves as the type of people who create their own families, housing them with empathy and affection. A few years later, I would find myself quite literally sleeping under the roof of their de facto home base, DBTS, during my brief stint living in New York. By that point, I’d already crowned Hoodwink‘d 2014’s Album of the Year and would be a year removed from giving Return to Love the same accolade.

It’s incredibly important to note here that those records didn’t receive those positions because LVL UP was kind to me; I had no idea that the members would become integral — if somewhat distant — parts of my life when Sasha hit play on that video. They earned those spots because their music always gave me a sense of belonging, which is exceedingly rare. I was fascinated by the collaboration, which seemed to establish an equal footing, and I was blown away by their articulation of a very specific sect of early adulthood.

Whether Nick, Dave, or Mike were expressing heartache, betrayal, wonderment, isolation, or warmth, the way the narratives took shape always found a way to hit me especially hard. It wasn’t just that the lyrics or instrumentation were impressive, there was an abundance of heart and humility that resonated with me to the point where my countless personal retreats into the worlds they conjured felt like a part of my identity.

Moving into DBTS for a short stretch only served to strengthen and accentuate things that I’d already learned; LVL UP wasn’t just a four person band. LVL UP was a family that extended beyond the confines of music. “They don’t love you like we do” wasn’t just a lyric, it was a way of living that’s spawned unforgettable moments for not just their friends but listeners the world over that found that same connection to their music that I held tight.

Considering every inch of those aspects of the band, their announcement a few short weeks ago and the release of “Orchard” have made the goodbye especially painful. Coming on the back of their most celebrated record (along with signing to Sub Pop), the band’s future seemed wide open. Everything seemed to be clicking, even as the trio of core songwriters dipped into their respective solo projects (Trace Mountains, Spirit Was, and The Glow) with an increased dedication while drummer Greg Rutkin found success in Cende, a band that was gone too soon.

It’s in those solo projects (and the various others that all four members have played pivotal roles) that there resides hope for what LVL UP can offer in the future. Each of their albums, 7″s, and odds and ends compilations encapsulates the kind of legacy that people will point to as a source of inspiration for years to come. “Orchard” is a worthy addition to that legacy and the most bittersweet moment of a discography that never shied away from challenging dichotomies.

Everyone gets a turn in front of the microphone one final time, sharing harmonies together with the knowledge that this will be their last time, imbuing the song with a sense of longing and finality. In that context, “Orchard” becomes devastating; it’s the end of an era that heralded innumerable arrivals, songs, and moments. There’s a palpable weight in the delivery, as if the members of LVL UP themselves were still struggling to come to terms with the decision to have one final outing before hanging up their banner for good.

Over that final three minutes and 48 seconds, the band lean into their interplay to incredible effect, pushing it to the forefront for a deeply felt goodbye. Fittingly, considering the circumstances, “Orchard” is the most melancholic moment of the band’s career, replete with elegiac, swirling organ lines cascading down onto reverb-laden vocals. The song’s kept at mid-tempo but still feels urgent, as if holding back from collapse; mirroring those of us who have struggled with this being the last new song we’ll likely ever hear from the band.

From a narrative perspective, “Orchard” seems to touch on a metaphor that applies to the history these four people have built together, from the ground up. An orchard turns out to be an apt metaphor as LVL UP waxes poetic on the nature of change; life and death being inextricably intertwined, one providing the inevitability of the other. Even through that wistful lens, there’s a sliver of hope in the allowance of rebirth. If “Orchard” truly winds up being the band’s parting gift to those who were fortunate enough to cross the path of their music, it’s an exquisite one.

All we can do now is hope that Nick Corbo, Greg Rutkin, Dave Benson, and Mike Caridi keep finding ways to keep the flames they stoked alive in some way or another. LVL UP’s dissolution may offer difficult routes to reconciliation, but the space it affords is lit with a rare kind of promise that will be a comfort in the ongoing rolling blackout of treasured NYC DIY institutions. Fortunately, the band’s not ready for a final goodbye quite yet and will be taking an extended bow on a farewell tour.

Read the band’s goodbye note and buy tickets for one of the farewell tour dates listed as soon as they become available.

“We have decided to retire this project. It has been an extremely rewarding journey beyond anything we could have ever realistically imagined,” LVL UP said in a statement. “The band began in a college dorm room in 2011 as a lighthearted recording project. We have since been lucky enough to tour nationally and internationally over the last seven years with the support of many lovely people, and will never be able to thank our friends, families, and loved ones enough for providing such warmth throughout this experience. Our deepest gratitude goes out to every label, band, and person who’s played a role in this wild ride.”

08/27 – Boston, MA @ Great Scott
08/28 – Montréal, QC @ Bar Le Ritz
08/29 – Toronto, ON @ The Garrison
08/30 – Cleveland, OH @ Mahall’s
08/31 – Chicago, IL @ Beat Kitchen
09/01 – Minneapolis, MN @ 7th St Entry
09/04 – Missoula, MN @ Union Ballroom
09/05 – Seattle, WA @ Barboza
09/06 – Portland, OR @ Mississippi Studios
09/08 – San Francisco, CA @ Cafe Du Nord
09/09 – Los Angeles, CA @ The Echo
09/10 – Phoenix, AZ @ Rebel Lounge
09/13 – Dallas, TX @ Three Links
09/14 – Austin, TX @ Barracuda
09/16 – Nashville, TN @ High Watt
09/17 – Asheville, NC @ The Mothlight
09/18 – Carrboro, NC @ Cat’s Cradle
09/19 – Richmond, VA @ The Camel
09/20 – Washington, DC @ DC9
09/21 – Philadelphia, PA @ Boot & Saddle
09/28 – New York, NY @ Bowery Ballroom

Watch a collection of personally shot live videos and listen to “Orchard” below.

LVL UP – Return to Love (Album Review)

LVL UP II

A great week was all but capped off by a tantalizing array of new material, including streams from Dark Blue, Teksti-TV 666, Black Honey, Alien Boy, Teen Vice, Acrylics, and Itasca. Neaux held down the fort for the music video format while excellent full streams from the likes of Static Animal, Anthony Jay Sanders, and betty becky came to light. Dillo Milk’s tremendous second compilation, Dillo Milk 2, rounded things out in memorable fashion.

As enticing as it was to go into detail on any of those entries listed above, this post was always going to belong to LVL UP. When Heartbreaking Bravery first started, they were the ideal example of the type of band this space was designed to celebrate. A scrappy, frequently overlooked powerhouse that earned critical acclaim and adoration in certain circles, had strong communal values, a distinctly DIY ethos, and a knack for intelligent, intuitive songwriting. The fact that they were playing basement pop — the genre that would arguably come to define this site’s coverage — almost became secondary to those other characteristics.   

Less than a week and a half elapsed from the first post to be published on this site before LVL UP’s was printed. Even if that mention was only a tangential one, it was designed to posit the band as reference point for feature coverage. Before long, they became an intrinsic part of Heartbreaking Bravery’s allotted feature segments. Very few bands have appeared in that capacity at a greater volume of frequency than LVL UP have managed to attain over their past several releases.

Hoodwink’d
, their outstanding sophomore full-length, topped this site’s best albums of 2014 list. Three Songs, the quartet’s most recent short-form release, ranked highly in the best EP’s of 2015 list. “Hidden Driver“, “Spirit Was“, “Pain“, and “The Closing Door“, the four songs to tease the just-released Return to Love, all earned features on their own considerable merit. With that kind of rollout campaign, a full review of Return to Love became an inevitability. Predictably, the rest of the record somehow found a way to surpass what were once thought to be unreasonably high expectations.

“Hidden Driver”, Return to Love‘s incendiary opener, sounded like it was all but ready to hurtle itself into an untested abyss when it was first unveiled. It’s an explosive work and it sets up the noticeably more aggressive nature of Return to Love, which asks a lot bigger questions than its predecessors. From the outset, Return to Love grapples with non-traditional instances of love and spirituality, something the band discussed at length in Loren DiBlasi‘s revealing MTV profile piece that went up earlier today.

In that interview, guitarist/vocalist Dave Benton (who penned “Hidden Driver”) posited God as a feeling, rather than as an all-knowing omnipresence. So, when the unforgettable chorus of “Hidden Driver” hits, the meaning becomes slightly more clear. It’s the first instance of a slew of moments that litter Return to Love in which the band confront the spiritual realm with the kind of bold decisiveness that powers the record.

Blur“, one of two songs to be revised from Three Songs for Return to Love, increases the velocity of the momentum and allows Mike Caridi to take over for a moment. Characteristically riff-happy and tethered to an enviable pop sensibility, “Blur” scales back from the otherworldly concerns of “Hidden Driver” to examine the minutiae of a fractured relationship and its lingering effects.

Only two songs into the record and LVL UP have already struck a delicate balance of external and internal questioning, providing an early hint that Return to Love is a record that’s defined by a commitment to exploring their own curiosity. Complementing that theme is the renewed emphasis on keys, which prove to be immensely effective and elevate the record’s frequently subdued nature, especially as Return to Love explores new musical territory.

A great example of that exploration comes in the form of the record’s third track, which turns the spotlight back to Benton. “She Sustains Us” is one of Return to Love‘s more definitive moments as it opens up the band’s sound, considerably expands their musical boundaries, establishes new tendencies, and examines the ideas of love and spirituality from a singular perspective while remaining subversive in the way those topics are typically approached. Beautiful harmonies flitter in and out of “She Sustains Us” and continues the the band’s tradition of adding compelling touches of overt femininity in their work.

The ensuing quartet of tracks constitute Return to Love‘s beating heart and have all either been revealed as part of the record’s introductory campaign or have been staples of the band’s galvanizing live sets for a year or more. “Pain” — a critical part of that run of songs and one of the record’s many standouts — sees Mike Caridi getting off some cutting asides while still managing to invoke a small semblance of lightness. The narrative of “Blur” is unapologetic in its casual brutality, wishing nothing but the worst for a person who harmed a loved one. Somehow, the spry nature of the music surrounding those biting lyrics keep the sentiment from becoming overly malicious.

There’s always been an underlying humanism and empathy to LVL UP’s work, even at its most detached. “Spirit Was”, “The Closing Door”, and “Five Men On the Ridge” all reap the benefits of that genuine, open-hearted approach which continues to stand in contrast to so many otherwise similarly-minded acts. All of those songs also ably demonstrate LVL UP’s acutely-realized atmospheric design (the plinking piano figure of “Spirit Was” being a perfect example) and their newfound heaviness (when the band comes crashing in at full force towards the start of the redesigned “The Closing Door”, the sudden impact becomes ridiculously powerful).

Five Men on the Ridge“, easily one of Return to Love‘s heaviest numbers, transitions the record into its final run of tracks with an impressive mixture of grace and relentless intensity. It’s a song that’ll be new to just about everyone that hasn’t been fortunate enough to catch the band live but it takes on new life in the context of the record. One of bassist/vocalist Nick Corbo’s strongest contributions to date, the song finally infuses Return to Love‘s line of questioning with a well-earned sense of dread; there are likely some big questions that are better left unanswered.

Corbo immediately follows that jarring moment of bleakness with one of Return to Love‘s most meditative pieces, “Cut from the Vine”, which finds the songwriter returning to a characteristic theme: the distinctly human connection to nature. It’s something that Corbo’s explored on previous records and discussed semi-frequently in interviews (as well as casual conversation). While all of the past instances of this recurrent theme in Corbo’s songwriting have been engaging, “Cut from the Vine” is truly exceptional.

With the slow-burn of “Cut from the Vine”, the record’s final Caridi track — “I” — is positioned perfectly. Return to Love‘s penultimate number restores a sense of urgency and elevates its immediacy, recalling the band’s past work with enough panache and untethered momentum to rank as one of Return to Love‘s most exhilarating offerings. At a brisk two minutes (not counting the fascinating ambient epilogue that features drummer Greg Rutkin’s distorted ramblings about a beach), it’s the record’s shortest song and its sharpest kick, all but cementing Return to Love as one of 2016’s fiercest highlights.

All of that said — meaning every single paragraph of this feature review — nothing could’ve been adequate preparation for Return to Love‘s bruising, doom-leaning, chant-laden finale, “Naked In the River with the Creator”. Corbo takes the reigns once again and steers the focus back to nature, love, and spirituality in one fell swoop. “Naked in the River with the Creator” was one of three songs on Return to Love that was initiated by the excellent Song A Day for A Week series and its final form is astonishing.

Nearly seven and a half minutes in length, “Naked in the River with the Creator” suggests that Return to Love still hasn’t revealed the extent of the band’s ambitions. Opening with the slowest tempo of the record, somber vocals awash in a gently haunting organ figure, the effect is genuinely startling. Even more startling is when the bottom drops out and plunges the band into a quasi-nightmarish trip into a metal-informed trance that evokes a state of possession.

The latter half of “Naked in the River with the Creator”, with its repeated mantras of chants like the opening “white river, black water, gaining purpose, moving stronger, ash rising, bright father, dogs running the earth’s daughter” becomes both deeply disconcerting and oddly chilling. As directly as the band confronted spirituality throughout Return to Love, “Naked in the River with the Creator” all but exists on a different plane of existence. It’s a shocking departure from a band not typically known for taking risks and the dividends it pays are enormous, fully positioning LVL UP’s Sub Pop as not only a genre classic but as one of the legendary label’s best releases in years.

All told, Return to Love is a document of a band determined to continuously better themselves, a new career high, and a bona fide statement release from one of this generation’s most consistently exciting acts. It’s a series of sustained, connected grace notes that never wavers, even as it openly acknowledges it doesn’t have all of the answers. Not a single second of its run time is wasted and each of the songs are memorable for a wildly varying list of reasons. LVL UP aren’t the type of band to be dissuaded from taking action by a daunting challenge and Return to Love is an assured, steadfast piece of proof.

To put it as succinctly as possible: it’s a masterpiece.

Listen to Return to Love below and pick it up from Sub Pop here.

15 of ’15: The Best EP’s of 2015

Slight I

Now that all the visual retrospectives are out of the way and the best live videos have been accounted for, it’s time to move onto the records in earnest. Over the course of the next several days there will be “best of” lists for the following categories: music videos, odds and ends (demos, 7″ records, compilations, etc.), songs, and albums. There will also be an Honorable Mentions devotion that covers a massive array of material from the majority of those categories. Following those lists will be the second installment of the A Year’s Worth of Memories series, which will once again feature a murderer’s row of contributors that have been pulled from both the music and film worlds.

For now, we’re turning our attention to the EP’s that made the most formidable impressions over the course of the past 12 months. Well over 100 titles were considered and then boiled down to the 15 that you see below (this was such a strong year for EP’s that the top 5 are essentially interchangeable). Before delving into those titles, it’s worth noting that “best” in the case– as it is in all cases– is just a meaningless formality and the list below is a reflection of subjectivity. I make no claim to be an authoritative voice in these matters, just a person that genuinely enjoys music and uses a platform as a means to attempt to elevate some of the acts that truly deserve to have their names in greater circulation. So, without further ado, here’s 15 of ’15: The Best EP’s of 2015.

15. Idle Bloom – Some Paranoia

Sometimes all you need to do is offer to help carry equipment to be introduced to incredible new bands, which is exactly how I met Callan Dwan, who I would come to learn is not only Mitski’s guitarist but one of the guitarists for two other acts as well: Dogtooth and Idle Bloom. The latter– a shoegaze-obsessed post-punk act (or is it the other way around?)– recently released their Some Paranoia EP, which stealthily builds its momentum in a clever, multifaceted way; not only do the majority of the songs work their way into a cacophonous frenzy but so does the EP as a whole. It’s an exhilarating listen from a promising emerging act and boasts one of the year’s best riffs.

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14. ThinLips – Your Divorce

An extraordinary opening track can do wonders for any release. An effective opening track will set a precedent and a tone for the ensuing material on the record. Your Divorce‘s opener “Nothing Weird” is both effective and extraordinary. Brandishing a compellingly damaged form of lo-fi leaning pop-punk, ThinLips crafted a vicious, compact stunner of an EP that comes across like a warning shot. In a genre that’s increasingly weakened by diminishing returns from the artists utilizing reverential approach, it’s heartening to see the more subversive acts releasing material that feels genuinely vital.

13. Bad Wig – Bad Wig

Before Bad Wig was Bad Wig, they were The Midwestern Charm, an act that worked their way from a sound that fell closer in line to Ryan Adams to crafting a record that fit better alongside the likes of The Lemonheads. A few member changes and stylistic shifts later, they’d carved out a new identity under their new name. Their introductory act is ferociously ragged and maybe even a little audacious. Most everything else there is to be said about this brilliant collection of punk-tinged micro-pop gems can was covered in last week’s review.

12. Potty Mouth – Potty Mouth

A lot of bands found surprisingly bold ways to shift their sound but none caught me as off-guard as Potty Mouth‘s fearless swan dive into the polished, arena-ready sounds of their self-titled EP. Opening with the skyward stretching of “Cherry Picking” and only building momentum from there, Potty Mouth could very easily signal a new era for a band that was formerly known for reveling in their scrappier tendencies. Every song on the EP connects with a staggering amount of force, nicely correlating with the self-possessed determination found at the root of nearly every song in this collection. Potty Mouth is the kind of rallying call that echoes.

11. Midwives – Cowboy Songs

After releasing a fierce full-length debut back in February, Midwives managed to top themselves as the year was drawing to a close. The shockingly immediate Cowboy Songs dishes out punishment at a startling rate and bristles with real emotion. Things kick off with the vicious “Back in the Saddle” and never look back from there, each subsequent song in this seven and a half minute collection of deranged hardcore acting as a flawless showcase of the band’s brute strength. Cowboy Songs is filled to the brim with the kind of hardcore that thrashes around wildly and refuses to be tamed.

10. Geronimo! – Buzz Yr Girlfriend: Vol. 4 – Why Did You Leave Me?

While a lot of people were justifiably saddened over the losses of Ovlov and Krill, it may have been the departure of Geronimo! that hit hardest. Granted, for the vast majority of my life, they were easily the closest to my location of that trio but the sentiment remains. At the very least, the trio went out on top with their final bow: Buzz Yr Girlfriend: Vol. 4 – Why Did You Leave Me?. Characteristically unwieldy, the band’s final three songs ranked among the best work of a deeply impressive career, each (justifiably) landing a premiere at a massive publication. Fitting levels of recognition for an overwhelmingly powerful final effort.

9. Teksti-TV 666 – 2

One of the biggest surprises of the year for me personally, this blistering EP from Finnish act Teksti-TV 666 practically qualifies as an album by today’s standards (its runtime is over 22 minutes). Full of surging basement pop that’s not too far off from the best of The Marked Men, the aptly named swings for the fences at every turn without hesitation. Incorporating a several-member guitar attack that may rival Diarrhea Planet’s, the band finds new avenues to explore as the record careens headfirst towards something concrete. After the fireworks of “Tuhatvuotinen Harharetki”, the band never lets up and goes on exploratory tangents at will. Psychedelic flourishes, sludge breakdowns, and a serious amount of momentum carry to its status as one of the best of 2015.

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8. Slight – Hate the Summer

Hate the Summer prompted a few difficult guideline decisions for this list: was it ethical to include an EP anchored by a song that premiered on this site and would a tape release of the EP that included the entirety of an online single that this site ranked as last year’s best be eligible for contention? The answers, obviously, were “absolutely” and “yes.” The latter line of questioning was the one that was scrutinized the most for this list and wound up excluding Meat Wave’s formidable Brother from eligibility (nearly half of the EP pulled from a variety of the band’s other releases, rendering it more of a padded compilation than an EP). With Hate the Summer, the band’s not only expanded the scope of their work but they’ve tapped into something with the three new songs on display here that have the potential to lift this project to new heights of outside recognition. Overall, it’s an important early piece of the trio’s developing history and deserves to be heard as many times as possible.

7. Midnight Reruns – Get Me Out

A staple of this site’s coverage since its introduction, Midnight Reruns rewarded that attention by taking a huge leap with this year with their two strongest releases to date, beginning with this bleary-eyed EP. The Tommy Stinson-produced “Ain’t Gonna Find” sets things in motion and establishes the band’s manic basement pop sensibilities in the early goings, with Graham Hunt’s million-words-a-minute delivery emboldened by the characteristically fierce lead guitar work between Hunt and Karl Giehl. From that blistering opening number, the band takes a step back and sinks their teeth into more left-field territory like the rollicking “Ancient Creature”, which boasts the instantly memorable chorus couplets of “I am the sun, I am the sea/I am an ancient creature/I was born in Madagascar/I was raised by lemurs” and a bruising cover of The Mistreaters’ “The Other Man”.

6. Sheer Mag – II

Another year, another Sheer Mag list placement. Expanding on everything that made the band so great right out of the gate, II was a natural extension of its predecessor, driven by the wild energy of its phenomenal closing track, “Button Up“. All of the glam influences remain and the band likely owes a remarkably huge debt to Marc Bolan but it’s hard to care about influences when the music manages to be so ridiculously entertaining. People will talk about how ’50s pop seeps in around the band’s roughest edges but really, they should probably just stop talking and start dancing. Scrappy and deliriously fun, II‘s another triumph.

5. Diet Cig – Over Easy

No EP soundtracked more aimless drives for me this year than Diet Cig‘s endearingly jubilant Over Easy, which served a necessary reminder that sometimes the most important function music can have is a sense of joy. In the face of a horrifying year in the news, an onslaught of overly-serious releases, and a general downcast pall, Over Easy was a breath of fresh air; a pair of young musicians finding their voice. Every song on Over Easy is memorable not just for its irreverence but for its uncompromising energy and impressive levels of commitment. Warm weather anthems abound and guitarist/vocalist Alex Luciano gets to deliver one of the year’s most scathing kiss-off’s in the final track’s most rousing section.

4. LVL UP – Three Songs

In 2014, site favorites LVL UP topped this site’s Albums of the Year list with ease thanks to the overwhelming brilliance of Hoodwink’d, which was the most perfect distillation of the respective voices of the band’s three principal songwriters to date. Three Songs continues that trend in miniature, allotting a song a piece from Dave Benton, Mike Caridi, and Nick Corbo. All three bring a palpable sense of weariness to the proceedings, immediately rendering this LVL UP’s moodiest record. From the spiky micro-pop of “Blur” to book-ends “The Closing Door” and “Proven Water Rites”, there’s never a dull moment and the band, once again, leave their guts on the table before walking out the door.

3. Ernie – Dog Park

Occasionally, a single song can elevate an already-strong release to unthinkable proportions, which is exactly what happens with Ernie’s delightful Dog Park and its monumental centerpiece, “Sweatpants“. While all four songs contained in Dog Park are memorable and have an impressive host of great moments, it’s the frantic, hook-laden “Sweatpants” that brings the collection together and enhances its immediate surroundings. A surging jolt of relatable discontentment emphasized by a vicious undercurrent of basement pop aesthetics, “Sweatpants” becomes Dog Park‘s definitive moment and simultaneously becomes an unwitting microcosm of 2015’s prevailing sense of disillusionment before turning on that notion in defiance and letting loose a series of blows. Dog Park‘s status as one of 2015’s great releases is cemented in the process.




2. Tenement – Tenement

No band was written about more- or in greater detail- throughout the course of 2015 than Tenement. For nearly 10 years, I’ve been clutching at mostly empty air while damaging my lungs screaming at seemingly empty rooms to go listen to this band. 2015 was the year where everyone started listening. Of the band’s three releases throughout the past 12 months, their self-titled effort was by far the least discussed. Originally released as a limited-run cassette for one of their early tours, the trio decided to release it to the general public several months later, potentially realizing that it deserved a much wider audience. Focusing on the band’s underlying roots, country, folk, and soul influences without ever completely sacrificing their punk bite, Tenement‘s easily the band’s most easygoing collection as well as its most immediately timeless. Keep its open-road sensibilities in mind for your next long drive.

1. Cende – Cende

Capping off an extraordinary year for drummer (and occasional guitarist) Greg Rutkin (LVL UP, Slight, Normal Person, etc.) was Cende’s explosive self-titled debut, which was recently released online (the bandcamp lists the official release as January 1). The band’s been playing these songs out for a while and garnered heavy coverage from this site during its extended Brooklyn residency. An LP is due out in 2016 as well and, after this EP and the live previews, it’s already one of the most highly anticipated releases of 2016. Taking cues from acts like Radioactivity, Cende has already perfected their blend of searing basement pop and unforgiving basement punk. Only two of these songs- including “Widow”, the opening track and one of the year’s finest- go over the 90 second mark and all of them boast hooks powerful enough to keep pulling the listener back, making Cende an endlessly replayable gift. It’s a monstrous release from a band refusing to aim for anything other than greatness and continuous improvement. Cende is one hell of a starting point.

2015: A Visual Retrospective, Vol. 7

PWR BTTM I

Throughout the course of 2015 I’ve been fortunate enough to attend upwards of 100 shows, festivals big and small, and spend approximately half a year living in a city that hosted a mind-boggling amount of quality shows on a nightly basis. To that end, it’s probably unsurprising that I wound up taking over 10,000 photos this year alone. Over the course of the next few days, this site will be running seven volumes of the shots that stood out as personal favorites, whether that was due to their composition, sentimental attachment, or an intangible emotional or intellectual response. It’s been an honor to be able to take even the smallest part in the ongoing sagas of the artists in the photographs below and an additional thanks is due to the venues that allowed me to shoot (as well as the people who encouraged me to keep shooting).

The preceding galleries can be accessed via these links:

2015: A Visual Retrospective, Vol. 1
2015: A Visual Retrospective, Vol. 2
2015: A Visual Retrospective, Vol. 3
2015: A Visual Retrospective, Vol. 4
2015: A Visual Retrospective, Vol. 5
2015: A Visual Retrospective, Vol. 6

Enjoy the gallery.

 

2015: A Visual Retrospective, Vol. 6

Potty Mouth

Throughout the course of 2015 I’ve been fortunate enough to attend upwards of 100 shows, festivals big and small, and spend approximately half a year living in a city that hosted a mind-boggling amount of quality shows on a nightly basis. To that end, it’s probably unsurprising that I wound up taking over 10,000 photos this year alone. Over the course of the next few days, this site will be running seven volumes of the shots that stood out as personal favorites, whether that was due to their composition, sentimental attachment, or an intangible emotional or intellectual response. It’s been an honor to be able to take even the smallest part in the ongoing sagas of the artists in the photographs below and an additional thanks is due to the venues that allowed me to shoot (as well as the people who encouraged me to keep shooting).

Enjoy the gallery.

 

2015: A Visual Retrospective, Vol. 3

Idle Bloom

Throughout the course of 2015 I’ve been fortunate enough to attend upwards of 100 shows, festivals big and small, and spend approximately half a year living in a city that hosted a mind-boggling amount of quality shows on a nightly basis. To that end, it’s probably unsurprising that I wound up taking over 10,000 photos this year alone. Over the course of the next few days, this site will be running seven volumes of the shots that stood out as personal favorites, whether that was due to their composition, sentimental attachment, or an intangible emotional or intellectual response. It’s been an honor to be able to take even the smallest part in the ongoing sagas of the artists in the photographs below and an additional thanks is due to the venues that allowed me to shoot (as well as the people who encouraged me to keep shooting).

Enjoy the gallery.

 

2015: A Visual Retrospective, Vol. 2

Girlpool I

Throughout the course of 2015 I’ve been fortunate enough to attend upwards of 100 shows, festivals big and small, and spend approximately half a year living in a city that hosted a mind-boggling amount of quality shows on a nightly basis. To that end, it’s probably unsurprising that I wound up taking over 10,000 photos this year alone. Over the course of the next few days, this site will be running seven volumes of the shots that stood out as personal favorites, whether that was due to their composition, sentimental attachment, or an intangible emotional or intellectual response. It’s been an honor to be able to take even the smallest part in the ongoing sagas of the artists in the photographs below and an additional thanks is due to the venues that allowed me to shoot (as well as the people who encouraged me to keep shooting).

Enjoy the gallery.

DBTS: BS2 (Compilation Premiere)

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The first building I stepped foot inside of after moving to Brooklyn in June was David Blaine’s The Steakhouse (DBTS for short). Montana and the Marvelles were wrapping up a practice and it took less than a minute for things to start coming across as familial. It was a sense that continuously expanded as time passed, making it incredibly clear that it was a venue that helped foster a tight-knit community of like-minded people. It’s in that spirit that the DBTS: BS compilation series was created.

DBTS: BS1, the first entry into the series, was a collection of demos, outcasts from a variety of notable projects all connected to the DBTS family in one way or another. It was an intriguing project that helped kick off would what prove to be a remarkably successful year for the residents of DBTS and their wide-reaching network of ridiculously talented friends.

Now, just ten months after the debut compilation, they’re issuing a sequel, DBTS: BS2. All of these songs are either sourced from idling projects, covers, castoffs that would otherwise be bound for homelessness, or early stage demos. Members of LVL UP, Downies, Slight, Porches., Painted Zeros, Glueboy, Bethlehem Steel, and Big Ups all contribute material through either their main vehicle, a side project, or as a solo or collaborative effort.

It’s an impressive effort from a collective that keeps spreading outward and gaining momentum without ever losing sight of a steadfast commitment to a DIY ethos. So, with all of that in mind, it’s with honor and admiration that I present the premiere of DBTS: BS2, the latest step forward for the makeshift family that’s given me a place that’s easy to consider as a home.

Initially, this was going to be a name-your-price ordeal for a limited time with all proceeds going towards funds to their neighbors at The Silent Barn, who are still running repairs after the venue caught fire several weeks ago. However, the presence of covers on the compilation prompted justified concerns over legal matters. Even with that being the case, The Silent Barn could still use as much help as they get, so if this is a compilation you find yourself enjoying, please consider showing your appreciation in the form of a donation to aid their recovery.

Stream DBTS: BS2 below and watch a collection of live footage from DBTS shot over the summer beneath the embed.

LVL UP – Three Songs (7″ Stream)

LVL UP XXV

There are very few bands that this site has praised as heavily as LVL UP. Hoodwink’d topped last year’s best records list and their 4-way split with Radiator Hospital, Ovlov, and Krill topped the splits list. My personal contribution to the A Year’s Worth of Memories series was about a day spent with the band in Chicago (one that was capped off by a powerful set at Beat Kitchen). When I moved to Brooklyn, the members of LVL UP that help run (and live in) DBTS welcomed me to that space while I got settled. One of the things I was fortunate enough to experience during that time was a play-through of a test pressing of a 7″ that was unveiled today by The AV Club (in a piece that was- coincidentally- penned by another A Year’s Worth of Memories contributor, David Anthony), LVL UP’s Three Songs.

Created for a tour that the band’s about to embark on with Basement- a band that’s on the increasingly fascinating Run For Cover, the label that’s partnered with LVL UP’s brainchild (Double Double Whammy) for the record’s release. Appropriately, Three Songs is precisely three songs. Every one of the band’s contributing strings n’ songs members take a turn at the lead spot, each deepening a very specific trait of their approach and maximizing their penchant(s) for atmospherics. Dark, brooding, bruising, and deeply fascinating, it’s a new side of LVL UP that skyrockets the band’s already considerable intrigue with each successive song. Don’t be surprised if they wind up towards the top of another list come December.

Listen to Three Songs below and pre-order the 7″ in advance of its September 11 release date from Double Double Whammy and Run For Cover. Additionally, the band will have copies of the 7″ with them on tour, prior to its official release. Beneath the embed, explore a list of other great full streams to have surfaced in the past week.

Spirit of the Beehive – You Are Arrived (But You’ve Been Cheated)
Fine Points – Astral Season
N a p s – You Will Live In A Cool Box
Grave Babies – Holographic Violence
Day Wave – Headcase
Nudes – 5 songs
EEN – ✌ i a n ✌
SSDD – First Comes Money
Samantha Crain – Under Branch & Thorn & Tree
Nano Kino – Never Seemed To Happen
Dan Andriano in the Emergency Room – Party Adjacent
Good Morning – On the Street/You
The Foreign Films – The Record Collector (side 3)