Editor’s Note: There’s been a month-long gap in coverage, thanks to near-incessant travel and other extenuating circumstances. The following run of posts that contain this note will be posts that should have appeared sometime within the past several weeks. Use these posts as an opportunity to catch up to the present release cycle or to simply discover some new music. Either way, enjoy.
Back when Mutual Benefit experienced a breakthrough with the excellent Love’s Crushing Diamond, the project secured the attention of a lot of new listeners and I counted myself among that crowd. As much as I liked those songs on initial listen, they’ve grown on me exponentially over time. It wasn’t until “Not For Nothing” that a Mutual Benefit song knocked me flat (and was very nearly named this site’s Best Song of 2015).
“Not For Nothing” set an extremely high bar for the rest of Mutual Benefit’s upcoming Skip A Sinking Stone, as did its accompanying video. Thankfully, the arrival of “Lost Dreamers” quelled any doubts over whether or not Jordan Lee’s project was capable of living up to the task of matching the masterpiece that was “Not For Nothing”. A great song from the outset, “Lost Dreamers” took on even more poignancy when paired with the Ethan Samuel Young-directed music video. Separation, again, seems to be the defining crux of the song, only this time around that separation is more worldly than physically intimate.
All throughout “Lost Dreamers” there’s an acceptance of the world’s majestic sweep, that’s emphasized by erasing the human torso, allowing the viewer to get a more sprawling sense of the surroundings on display throughout the clip while simultaneously de-emphasizing our place as humans in that world. There’s a statement to be found about nature and industry but that large-scale issue is given minimum impact while the video chooses to present a more acute commentary on human perspective.
Suitably, gorgeous landscape shots comprise the bulk of “Lost Dreamers” visualization while flashes of everyday city life are integrated into the scenery in thought-provoking ways. With the palette almost exclusively leaning towards brights and tans, “Lost Dreamers” eventually registers as more of a celebration of humanity than a condemnation (while still showing a keen awareness of humanity’s potential to be irrevocably damaging).
Eventually, the formula’s switched and instead of erasing the torso, it’s the heads and hands of the people in the clip that have evaporated, subtly illustrating — once again — the importance of human perspective. By switching the focus to physicality, the clip touches on our relative meaninglessness in a way that encourages us to make the most out of what we’re given. In the end, “Lost Dreamers” stands as a moving, subversive reminder of why our own humanity matters while making a case for greater awareness. It’s a sublime piece of art that doesn’t deserve to be forgotten anytime soon.
Watch “Lost Dreamers” below and pre-order Skip A Sinking Stone here.
While January and February certainly had their fair share of great music videos, March saw an influx of truly great clips find their way out into the world. From Johanna Warren‘s extraordinary “Great Lake” (which I was fortunate enough to premiere over at Consequence of Sound) to a new, patently excellent, video from PUP, the format’s found its stride. Apart from the music videos, there was an outstanding Vaadat Charigimmini-documentary chronicling their first US tour.
Since there were so many clips — and since so many were so exceptional — they’ll be split into two categories below. At the very bottom of the page will be the honorable mentions category and above that will be a slew of videos that have positioned themselves to be early year-end contenders. Since “Great Lake” was already mentioned above, it won’t be below. Similarly, since Yours Are the Only Ears’ aching, gorgeous video for “Low” is the only non-YouTube entry, it will simply be listed in this paragraph (but rest assured, it’s more than worth your time). For the sake of convenience, 31 music videos are featured- one for each day in March.
Watch some of the finest clips of a young 2016 via the embed (with an accompanying tracklist tucked underneath) and explore the laundry list of exceptional titles in the honorable mentions category below the player. Enjoy.
1. PWR BTTM – West Texas 2. Dilly Dally – Snakehead 3. Palehound – Molly 4. Foul Tip – Drifting 5. Greys – Blown Out 6. Big Ups – National Parks 7. PUP – If This Tour Doesn’t Kill You, I Will 8. The Crookes – The World Is Waiting 9. Mutual Benefit – Not for Nothing 10. Alex G – Mud 11. Free Cake For Every Creature – Talking Quietly of Anything With You 12. Lucy Dacus – I Don’t Wanna Be Funny Anymore 13. El Perro Del Mar – In the Woods 14. Kevin Morby – Dorothy 15. Abi Reimold – Mask 16. Daughter – How 17. Eluvium – Life Through Bombardment Vol. 2 18. Bent Shapes – New Starts In Old Dominion 19. Nancy Pants – I’ve Got A Crush On You And Everybody Knows It 20. Outer Spaces – I Saw You 21. Eleanor Friedberger – Never Is A Long Time 22. PJ Harvey – The Community of Hope 23. Sunflower Bean – Easier Said 24. James Edge and the Mindstep – On A Red Horse 25. Furnsss – Slow Dark Water 26. The Lemons – Ice Cream Shop 27. Quilt – Roller 28. Marissa Nadler – All the Colors of the Dark 29. PAWS – No Grace 30. Savages – Adore 31. Hayden Calnin – Cut Love
Few lists have been as difficult to put together as this one, which saw upwards of 100 songs competing for a slot as one of the final 15. An extraordinary year for music by any margin, the continuously expanding models of release and outwardly stretching networks of musicians providing an astonishing amount of material that was more than worthwhile. As has been noted in the previous lists, the choices here are completely based on personal subjectivity and exclude the more major releases (like the monumental tracks from Jason Isbell, Courtney Barnett, and Death Grips) as they’ve received countless accolades already and the spotlight deserves to be spread to equally deserving artists that still don’t have access to those levels of exposure. None of these artists appeared on last year’s list but every single act who gets an inclusion this time around feels more than capable of making a return visit at some point in the near future. Somber closing tracks, heartfelt lead-off singles, and a few striking non-singles comprise the contents found below. So, without further ado, here’s 15 of ’15: The Best Songs of 2015.
15. Car Seat Headrest – Something Soon
Originally released in 2011, “Something Soon” was a deeply promising minimalist number from Car Seat Headrest mastermind Will Toledo. In the following years, Toledo expanded his outfit and managed to find a way to successfully reinvent both the Car Seat Headrest project and a few of the old songs in the process, including- of course- “Something Soon”. Oddly, upon its second release, the song felt even more of the moment than it did in its initial run, all while demonstrating a timeless panache that was elevated by things like the three-part vocal harmony that kicks off the explosive second chorus. Revamped and re-energized, “Something Soon” became an endlessly rewarding new career highlight for a band that, a dozen releases into its career, still feels like it’s only just getting started.
14. PWR BTTM – 1994
No one could have possibly predicted the absolutely monstrous run PWR BTTM would put together in 2015 back in January. Even the people that adored the band in their early stages would have been hard pressed to think that they’d have the kind of pull to be the sole focus of features from nationally renowned publications. That said, the timing couldn’t have been any better and in pairing their split with Jawbreaker Reunion and their towering debut full-length Ugly Cherries, their run couldn’t have been any stronger. One of the band’s most exhilarating moments came in the form of Ugly Cherries highlight “1994” which embodied nearly everything that makes the band necessary: identity exploration, earnest approach, searing guitar work, memorable melodies, and more than a few unbelievably fierce riffs.
13. Ought – Beautiful Blue Sky
Just a year after barelymissing this list, Ought came charging back with a new career highlight via the hypnotic “Beautiful Blue Sky“. Scaling back their excessive nervous energy into something that feels more refined, the band latched onto an approach that made them sound like they were in complete control. By substituting an abacus for their lab coats, they also tapped more fully into the inherent power of both their music and their identity. While there’s still a rambling feel to “Beautiful Blue Sky”, it’s one that’s played with casual confidence rather than manic neurosis. Easily one of Tim Darcy’s most fascinating lyric sets to date, the song explores heavy themes with tongue-in-cheek nonchalance, keeping the band’s irreverent spirit in tact. Another masterclass of interlocking grooves, “Beautiful Blue Sky” also has a shot at becoming a modern classic.
12. Mikal Cronin – Made My Mind Up
The first song to be reviewed on Heartbreaking Bravery in 2015 also wound up, as predicted, being one of the year’s finest. While not all of MCIII hit the extravagant heights of MCII, it wasn’t without its moments. The seeming flawlessness of “Made My Mind Up” shouldn’t come as such a surprise after MCII handily established Mikal Cronin as one of this generation’s finest pop songwriters yet it still lands with such breathtaking gracefulness that it’s hard not to be taken aback. A gorgeous piano figure finds a way to seamlessly intertwine itself with Cronin’s characteristically fuzzed-out brand of basement pop, elevating several sections of the song to levels that approach transcendence. When the stop/start dynamics of the chorus come into play, the song just starts moving effortlessly through a motion of grace notes, cementing Cronin’s position as a peerless talent.
11. Girlpool – Crowded Stranger
Girlpool can pull off a lot of varied looks but there’s something about the music they make that takes on a darker sheen that’s impossible to shake. “Plants and Worms” was the song that convinced me the band was great and “Crowded Stranger” only furthers that theory by tapping into a similar approach, one that feels infinitely more foreboding than the duo’s usual material. There’s a certain weightiness and bold uncertainty that accompanies their dips into murkier sensibilities and the effect, almost paradoxically, tends to feel more vibrant. Ostensibly a song about loss, “Crowded Stranger” is a bleak look at internal examination, circumstantial consequence, and bruised perception. One of the band’s most tortured songs to date, it winds up being an exemplary showcase of the band’s formidable grasp on their own pathos. All of those elements factored in to why “Crowded Stranger” were two of the most unforgettable minutes this year.
10. Dilly Dally – Burned by the Cold
“Burned by the Cold“, the elegiac closing track to Dilly Dally‘s incendiary full-length debut, Sore, was the moment that cemented that release’s status as a great. After 10 tracks of searing basement punk, the floor suddenly fell out from underneath the band and allowed Katie Monks to take even more complete control of the wheel as everything plummeted down in a free fall. Stripping away a few of the band’s most distinctive elements- Liz Ball’s breathtaking lead guitar work, a bruising rhythm section- and zeroing in on Monks’ unforgettable voice as it echoes through a devastating piano track, Dilly Dally found a genuinely unexpected way to flourish. As the ambient noise that swirls around “Burned by the Cold” intensifies, Monks pushes forward with a sudden vulnerability that makes Sore‘s mesmerizing final moment even more astonishing. Unprecedented by anything in their still young discography, it’s relative bravery proves the band has an untapped depth and, likely, plenty more welcome surprises to come.
9. Eskimeaux – A Hug Too Long
Nearly every song on Eskimeaux‘s masterwork O.K.was considered at one point for a spot on this list as each had a roughly equal claim. “A Hug Too Long” got the nod in the end for being, arguably, the most definitive track on the album. From the quick riff that opens the song to the lilting vocal figure that shortly follows, “A Hug Too Long” is a masterclass in composition and contains nearly everything that makes Eskimeaux such a rewarding project. Flawless melodies, production, and layered harmonies inform the track’s most vibrant moments, which once again show Gabrielle Smith’s masterful command over crafting songs that are as hopeful as they are bittersweet. Charming, endearing, and deceptively light- the song’s actually fairly crushing upon close inspection- “A Hug Too Long” finds a way to make nearly every one of the song’s structural aspects remarkable, lending it an additional emotional weight in the process. A sublime piece of songwriting, it firmly positions Gabrielle Smith as one of our finest emerging songwriters.
8. Hop Along – Waitress
One of the most heartening things to watch progress over the course of 2015 was the ascension of Hop Along, who have deserved far-reaching national acclaim for years but didn’t quite have the resources. Saddle Creek changed that when they signed the band for the release of Painted Shut, a critical knockout and a jaw-dropping show of force. While that record was peppered with several standout moments, it was “Waitress” that stood out most, a signature example of guitarist/vocalist and principal songwriter Frances Quinlan’s mastery of craft. Possessing one of the most arresting voices in music, Quinlan wields it like a weapon and strikes mercilessly as the rest of Hop Along viciously attacks their best track this side of “Tibetan Pop Stars” A series of bruised and beautiful moments culminate in a fiery outro that exemplifies the band’s inherent strengths. Quinlan lets loose several impassioned howls as the propulsive rhythm section goes to work with surgical precision and the guitar work nears an unprecedented level of excellence. Packaged together, it’s the kind of knockout punch that prohibits recovery.
7. Worriers – They/Them/Theirs
2015 saw the discussion surrounding gender identity take massive strides forward and open lines of dialog on a national scale that’d previously been a lot more diminished. It’s not unreasonable to think that the multimedia forms at large played in part in facilitating that transition and one of the most thoughtful and impassioned pleas came from Worriers‘ latest career highlight, “They/Them/Theirs“. Even in stripping away the lyric set, “They/Them/Theirs” is one of the band’s most powerful compositions to date but it’s the pointed narrative of “They/Them/Theirs” that makes it unforgettable, especially in its empathetic opening couplet (“You’ve got a word for one/so there’s a word for all”) and urgent chorus (“You are fighting between a rock and why bother?/we are floating between two ends that don’t matter”). At every step, the narrative’s fueled by a deep-seated frustration over the lack of understanding and driven by sheer determination to set things straight as the music conjures up something that’s both immediately accessible and genuinely thoughtful, enhancing the song’s humanist worldview.
6. Julien Baker – Go On
Like Eskimeaux’s O.K., Julien Baker‘s devastating Sprained Ankle provided a small army of tracks that were in contention for a spot on this list, which ultimately came to a showdown between the record’s unbelievably gorgeous title track and its unforgettable closer. The latter option won out and, in a strange turn of events, aligned it with Dilly Dally’s “Burned by the Cold” as a somber, piano-driven closer that’s unlikely to be released as a single. Following a record of intensely personal disclosures, “Go On”- like the vast majority of Sprained Ankle– felt palpably wounded in way that was frighteningly relatable as it confronted the inevitability of mortality. It’s also the song where Baker sounds the most severely pained and then, suddenly, one of the most chilling moments of 2015 arrives. Nothing in recorded music over the past 12 months hit me harder than the accidental broadcast interference that bleeds through the end of “Go On”, where a static-damaged sermon gets piped into a record that was heavily informed by religion. It’s in those final, largely improvised moments where Sprained Ankle feels genuinely holy.
5. Mike Krol – Less Than Together
Turkey, Mike Krol‘s unbelievably explosive third record, was one of 2015’s most exciting releases for a long string of reasons that included (but were not limited to) redemption for Sleeping in the Aviary and the rapidly growing interest surrounding DIY punk. Confrontational, irreverent, and deliriously fun, Turkey came off like several grenades all detonating simultaneously. Intriguingly, the record’s fiercest track is also its longest, the near-rabid “Less Than Together”, which serves as the record’s penultimate moment. No song got me out of bed in 2015 more times than “Less Than Together”, as its excessively frantic blend of basement punk and basement pop essentially managed to create its own singular energy source. Every element that makes Turkey such an enthralling record is present on “Less Than Together”, as it careens ahead and refuses to be apologetic to anything unfortunate enough to stand in its path. Everything clicks for Krol and the band he’s surrounded himself with as they play off of each other to enormous effect and produce something extraordinary, never pausing to look back at the destruction in their wake.
4. Fred Thomas – Every Song Sung To A Dog
One of the most heartfelt songs of 2015 was also one of the most painfully tragic. While Fred Thomas managed to stack the brilliant All Are Savedto the rafters with emotional moments of clarity in the midst of its intentional chaos, “Every Song Sung To A Dog” managed to leave the sharpest sting. As Thomas makes his way through “Every Song Sung To A Dog“, it becomes clear that the dog in question is Kuma, who served as the main source of inspiration for the songwriter’s last collection (which, accordingly, was also named after- and dedicated to- Kuma). Here, though, Kuma’s passed on and Thomas grapples with the complex emotions that accompany the loss of a loved one and produces something devastating. As the narrative probes at the questions over what separates us from our pets and our own mortality, it also functions at a remarkably high level as a character study of Thomas himself as he tears open his wounds and explores them without hesitation. Memories litter close to all of the dusty corners of “Every Song Sung To A Dog”, transforming it away from hypothetical territory into something that comes across as bravely, uncomfortably real.
3. Mutual Benefit – Not for Nothing
The past 12 months have had their fair share of exceedingly lovely songs, from the tender Cat’s Eyes number that plays over The Duke of Burgundy‘s credit reel to Mothers‘ spellbinding “Too Small for Eyes” to everything Eluvium released but none of them felt as perfectly weightless as Mutual Benefit‘s masterful “Not for Nothing“. Following the breakout success of Love’s Crushing Diamond, Jordan Lee’s project somehow grew even more gently refined, landing on something remarkably beautiful in the process. Nearly every movement of “Not for Nothing”, a song that was recorded for Weathervane Music’s deeply important Shaking Through series, can be viewed as a grace note. From Lee’s soft vocal delivery to the string section to the intuitive drumming and effective, simplistic piano figure, “Not for Nothing” finds a way to cumulative whole that comes off as miraculous. Expanded outward from the first time Lee overheard the phrase “Not for Nothing” used in a phone conversation, the song becomes an antithetical statement to the excess apathy that many of us confront in bulk on a daily basis. In finding and appreciating the world’s splendor as personal doubts seep into the song’s narrative, Mutual Benefit keep their heads pointed towards the sky and walk away with the most beautiful song of 2015.
2. All Dogs – That Kind of Girl
Ever since All Dogs initially unveiled “That Kind of Girl” back on tour in 2014, it’s been a personal favorite. On a standalone basis, it transformed Kicking Every Dayinto one of the more anticipated DIY-driven records of 2015 and provided a forceful career push for a band that genuinely deserved to have their name circulating around national press outlets on a steady basis. Fortunately (and unsurprisingly), the rest of Kicking Every Day lived up to the promise of “That Kind of Girl” but nothing on the record threatened its position as the band’s finest work (although “Leading Me Back To You“, which was deemed ineligible for this list due to being both a song from some of the members’ previous bands and a partial cover, came close). As the band demonstrated on their first two releases, their strength lies in the way they treat their own vulnerability, bravely kicking out against its currents instead of letting the water wash them away. Far and away the band’s most vicious song in an increasingly impressive discography, “That Kind of Girl” saw guitarist/vocalist Maryn Jones lash out in a way that saw each successive blow leave a deeper impact as Jones’ bandmates unleash a cavalcade of their own frustrations through some of the most impassioned playing of 2015 before claiming a victory and walking away with their flag planted in the dirt.
1. Stove – Wet Food
No song throughout 2015 made me feel more than Stove‘s hopeful, world-weary, defeatist, yearning masterpiece “Wet Food“. I can vividly recall being completely frozen while filming the band providing me with my introductory listen at Palisades (the video of that can be seen below), with chills shooting down my spine multiple times over. All the concern over Ovlov‘s dissolution immediately dissipated and hope for Washer‘s future (who operate at Stove’s rhythm section) suddenly went into overdrive. It joined a rare, elite company of performances and songs that had a similar effect on me (the only other band to hit that mark in 2015 was Dilly Dally’s unexpectedly vicious cover of Drake’s “Know Yourself”, which prompted a near-out-of-body experience). From the moment the guitar sweeps upward into action, “Wet Food” is untouchable. Adorned with subtle, effective bell work, punctuated by a blown-out chorus, it manages to take on the feel of a song whose stakes feel meaningful; this is the rare all-or-nothing song that swings towards the stars and connects with the kind of emphasis that manages to keep it in line. “Wet Food” also joins a class of recent songs where the songwriter addresses themselves by name (see also: Eskimeaux’s “A Hug Too Long”, above), presenting their most internal moments on a very public forum, enhancing the song’s honesty as a result. Bruised, battered, disoriented, and- above all- resilient, “Wet Food” felt like a microcosm of the prevailing personal stories that emerged throughout 2015, securing its rightful position at the top of this list.
One of the fiercest chills I got while listening to music last year came on a Sunday morning in Chicago. I’d just seen the immediate aftermath of a horrific accident the night before and had a lot on my mind. Day 3 of Pitchfork was just kicking off, with a scarcity of people combing the grounds after gates and before the first bands kicked off. Feeling uneasy heading into the day’s festivities, my mood was soon assuaged by the kindness extended by friends (there have been few things over the past few year that have felt as reassuring as the hug Meredith Graves greeted me with at the start of that day). One of those friends, the absurdly talented Sasha Geffen, joined me in taking in the day’s first set: Mutual Benefit. Something about the emotional turmoil brought about by the previous night, the perfect weather, the comfort of having friends joining an experience, and the surprisingly open park fields managed to culminate in a perfect storm of cognitive dissonance; I was a blank slate in a gentle breeze. Then Mutual Benefit started playing and everything faded almost instantaneously. Gentle tones, a hushed reverie, and an underlying sense of personal triumph and genuine feeling cut across Union Park with a transcendental force.
Jordan Lee’s kept his musical project fairly quiet in the time following that tour but recently unveiled the gorgeous “Not For Nothing” and all of those memories came back in an instant. Before further addressing that particular song, though, it’s worth taking one last aside to catch up on some of the strongest tracks to have emerged in the past week and a half. For the sake of linear functionality, they’ll just be listed in order with no descriptors (though they should really all be given a considerable amount of attention): Farao’s “Hunter“, Black Baron’s “Watch Me Sleep“, Envy’s “Blue Moonlight“, Bishop Nehru’s “Bishy In Japan 16 (Knowing Nothing)“, Abram Shook’s “Perfect“, John Vanderslice’s Songs: Ohia cover “Long Dark Blues“, Table Scraps’ “Bad Feeling“, Native Eloquence’s “Doldrum“, and Ancient Ocean’s “Beargrass Creek“. Now, with everything brought up to this week and that necessary tangent out of the way, let’s move back to the track contained in the headline.
“Not For Nothing”, the latest masterpiece from Mutual Benefit, isn’t just a reaffirmation of Lee’s enviable songwriting gifts, it’s a warm, welcoming song that’s arriving at the exact right time. For whatever reason, sincerity has become something that’s more derided than celebrated in the gradual come-down that’s happened in the post-Funeral landscape. Whether that’s because it was reduced to a cheap imitation in a lazy cash-grab effort by so many acts in an effort of miserably failed appropriation or because the world’s just been forced into a time where being cyclical, jaded, detached, and increasingly apathetic has made more sense, it’s tough to tell- but sincerity, when it’s done honestly, has the capacity to move more effectively than just about anything else. Lee brings that sincerity, and- just as importantly- empathy, to vivid life when he’s at his very best. And “Not For Nothing” just may be his very best. Strings swell, drums shuffle, and a beautiful atmosphere descends into the song from the outset, letting Lee’s deceptively impressive vocals and extraordinary lyrical ability drive everything home. As “Not For Nothing” calmly washes over its listeners, it becomes transportive: this is a song with the uncanny ability to elicit memories and nostalgia through dulcet tones and genuine feeling. By the time it winds down, the only appropriate course of action seems to be going back and hitting play, just one more time.
We only get songs like this every so often. Make sure this one isn’t forgotten.
Stream “Not For Nothing” below and watch the Weathervane session that features the song here.