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Tag: NPR First Listen

Cymbals Eat Guitars – Warning (Music Video)

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With another traditionally huge Monday just about in the books, it’s time to recap a large portion of the great material that was released. NPR’s First Listen series was typically stocked and contained Bedhead‘s discography as well as the upcoming records from Big K.R.I.T. and Hookworms. There was also the aggressively bleary noise-psych of Energy Slime’s debut 7″, New Dimensional. Stereogum played host to a slew of impressive song premieres: Lemuria‘s sprightly “Froggy Smoke“, Chief Scout’s kinetic basement pop stunner “Oh Shit“, Whirr‘s newest heavy-hitter “Ease“, and Cloakroom‘s Matt Talbott-assisted “Dream Warden“. In other reaches of the internet, The Sidekicks announced a new record and signing with Epitaph with the typically excellent “Deer” and Diarrhea Planet continued to up the anticipation for their upcoming EP, Aliens in the Outfield, with the absolutely stunning closer- and very likely their career-best- “Peg Daddy“. Empty Apartments’ punchy lo-fi treasure “Lefty (Cardboard Box)“, Terrorista’s jumpy basement punk brawler “Darren vs Bag“, and The Coathangers‘ savage Gun Club cover all also found their way into the world.

To round things out there were also outstanding new music videos that included a tantalizing introduction to what will be a multi-part series from Kevin Devine via “She Can See Me“, an intense visual stimuli overload in the form of Naomi Punk‘s “Television Man” video, Desert Sharks’ revenge fantasy in “crazycrazy“, and Elbow’s artful ode to motorcross in the artfully composed “New York Morning“. There was also The Twilight Sad‘s gorgeous black-and-white clip for “Last January“, Yesway’s hauntingly minimalistic “Let Go“, and Appomattox‘s celebratory career-ending exclamation point in the skate-heavy video for “Yr Soul“. While all of those operated on various levels of unique excellence, it’s tough to outmaneuver that towering scope of one of the year’s most powerful albums- especially when the music video for one of its best songs feels so perfectly assembled.

LOSE is a record that carries the burden of the heavy emotions that come with the loss of a close friend. “Warning” is one of its few moments of total exhilaration; a release of the pent up frustration, angst, despair, and complete helplessness in the face of death. It’s a staggeringly powerful moment on the record and hits stratospheric heights when paired with- and accompanied by- the record’s implicit narratives. In the brilliantly directed music video, Cymbals Eat Guitars are reverted back to youth via teenage stand-ins who deliver some commendably impassioned (and entirely convincing) performances as they mimic the song. A sense of well-placed nostalgia is subtly added in through quick cuts revealing some classic posters and albums that likely served as influences for the band (and for Benjamin High, whose early departure was the event that inspired much of LOSE). “Warning” is lovingly edited and gorgeously lensed, it’s a video that manages to evoke a deeply-felt well of emotions. It’s a surprisingly moving complement to a song- and record- that deserved nothing less.

Watch “Warning” below and buy LOSE directly from Barsuk here.

Girlpool – Plants And Worms (Music Video)

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A lot has happened in the four-day leave that this site took- a leave that officially ends with this post- and there are so many things to cover. It’d be foolish to pretend that this week didn’t just belong to Sleater-Kinney, who released a career-spanning box set, a new single (that was accompanied by a lyric video), and announced their official return. As tempting as it was to take a stab at waxing poetic over everything that band and their return means, their reputation’s already been earned and a million similarly-minded sites will be doing that in the weeks to come. Instead, today’s light will be shined elsewhere and ultimately fall on the band that’s earned the most mentions on this site without ever getting the feature spot. Before Girlpool gets their well-deserved due, though, all three of the regular fields will be recapped, in the order that follows: single stream, full stream, and music video.

Legendary Wings teased their upcoming basement punk ripper Do You See with the excellent “Weather Advisory” while Kal Marks did the same for their forthcoming EP with the forward-thinking bruiser “Zimmerman“. Portastatic proved they haven’t lost a step with the surprisingly great indie pop tune “Hey Salty” and Mitski‘s lead-up campaign for Bury Me At Makeout Creek remained perfect with the entrancing “I Will“. VLMA’s “Slime” and Cellphone‘s “Bad Medusa” were both post-punk stompers good enough to snag each act a handful of new followers. Chris Weisman celebrated the completion of his long-gestating album Monet In The 90‘s by previewing the record with the quietly mesmerizing “Working On My Skateboarding“. Vacation put forth an incredible Jesus And Mary Chain cover, Dirt Dress continued their impressive evolution with “Twelve Pictures“, and Caddywhompus continued extending what have become increasingly massive creative strides with the near-perfect “Entitled“. Davila 666 unveiled the tantalizing “Primero Muertas” in advance of their upcoming record, Pocos Años, Muchos Daños, just as Parts & Labor offered a glimpse at their upcoming record, Receivers, with the outstanding “Nowehre’s Nigh“. Art Is Hard’s Pizza Club series entered its final stretch with Broadbay’s newest noise-punk excursion “Plasticine Dream“, Primitive Parts made a rousing case for being a band to watch out for with “The Bench“, and Wildhoney became the latest act on the stacked Deranged roster to start breaking through on the strength of their towering shoegaze number “Fall In“. Circulatory System turned a few heads with the noise-damaged psych-pop of “It Never Made A Sound” and site favorites Saintseneca released a lovely Lucinda Williams cover. To round things out in the more ambient-leaning fields, there was a stunner from James Blake and a gentle new piece from The Greatest Hoax that easily swam its way into the realms of the sublime.

As for full streams, most of the talk in regards to this week will be dominated by the year-end-bound RTJ2, which is to be fully expected when a sophomore effort absolutely topples its heavily acclaimed predecessor- but don’t let that distract from a slew of other investment-worthy releases. Lace Curtains’ A Signed Piece of Paper also managed to exceed the record it follows in terms of artistic merit- which is a trait that it shares with The Twilight Sad’s Nobody Wants To Be Here And Nobody Wants To Leave. The Unicorns’ Nick Thorburn made his uniquely charming score for the SERIAL podcast available via bandcamp and Fleeting Youth Records made their essential 33-track Blooming (A Fuzz-Fucked Compilationmixtape (which more than lives up to its name) available for streaming via soundcloud. French For Rabbits premiered their arresting folk-inflected Spirits over at Stereogum while NPR’s First Listen series hosted the premiere of Medicine‘s extraordinary Home Everywhere. The Omecs crafted a winsome throwback punk record which they’re now streaming on their bandcamp. Another record to be released via bandcamp, spit’s Getting Low, came dangerously close to being today’s feature by virtue of being a masterful work from an extremely promising songwriter (John Romano) that expertly straddles a curious line between Exploding in Sound and Orchid Tapes. Easily one of this month’s most fascinating records, it’s currently available over at bandcamp for a generous name-your-price fee. Don’t hesitate; this is music worth being in a wide array of collections.

In the music video category, Hurry had a blast with their clever clip for “Oh Whitney“, Dilly Dally got shrouded in smoke for “Candy Mountain“, and S gave the Tacocat bassist some peace of mind in the video for “Vampires“.  Ought danced their hearts out in “New Calm, Pt. 2“, Thurston Moore conducted a nightmarish clip for “Speak to the Wild” (Los Angeles Police Department’s woodland excursion for “Enough Is Enough” was far less menacing), and Split Single inverted normalcy with their positioning for “Monolith“. Broken Water set things up with no shortage of caution in “Love and Poverty“, The Coathangers cheekily provided what’s ostensibly both a puppet-centric video and a left-field visual tour diary in “Drive“, and Beverly cemented their beautiful stylistic approach to the music video format with “Yale’s Life“. DTCV mined a bevvy of filmic influences and utilized them to perfection for “Electrostatic, Inc.” while Public Access TV took a similar route for “In The Mirror“.  Allo Darlin’ kept things amusingly (and effectively) simple for “Bright Eyes“, Nano Kino set the airy “New Love” to a hypnotic visual collage, and Mannequin Pussy remained as energetic and unapologetic as ever with their lo-fi production for “My Baby (Axe Nice)“.

Now, that’s a lot of material to go through for just about anyone but none of those items hit with as hard of an impact as Girlpool‘s absolutely devastating animated video for “Plants and Worms”. From this video alone, it’s shockingly easy to see why such a huge subset of journalists and musicians have latched onto Girlpool so fiercely; their world-weariness, entirely relatable socio-political commentary, and compositional skills all suggest both an age and stage of career that’s vastly accelerated from the actuality of their current positions. The duo, Cleo Tucker and Harmony Tividad (17 & 18 years of age, respectively), are moving at an accelerated pace- release follows release, idea follows idea, and there’s barely any time for an active listener to breathe. Impressively, all of those pieces carry their own distinct identity and they’re frequently accompanied by weighty topics that most songwriters experience an immense struggle to present without tipping into the cloying or cliché. It can be hard to resist the temptation of excess when dealing with important messages and this is where Girlpool excels; not only are their thoughts presented articulately- they’re presented in a manner that’s plaintive enough to be devoid of any easy derision. There’s a deep-rooted humanism and empathy that’s present in their work which is something that will always be admirable- and in their deceptively minimal compositions, the music carries the burden of the weight of those topics to a degree that seems to mirror the band’s inherent level of mutual support.

For “Plants and Worms” they wound up pairing with illustrator Catleya Sherbow, whose art here also acts as a double for Girlpool’s processes. In the Rookie premiere of “Plants and Worms”, Tucker and Tividad give an interview that lends some insight to their history, ideals, and intentions, while revealing that “Plants and Worms” is about accepting the world and how much it has to offer once fear and trepidation is reduced to the point of near-elimination. Neither get any more specific than that- but they don’t need to because the illustration makes a variety of specific instances of everyday fear entirely evident: body image issues, self-image, depression, loneliness, and self-destruction. In Sherbow’s illustrations, everything’s presented as it would be in a children’s book; there’s a soft quality that undercuts the severity of the video’s implications providing a thoughtful contrast that suggests the darkest aspects of the song are universal- but also definitively states that they can be overcome. It’s a crushingly powerful video that becomes impossible to shake after one watch and positions Girlpool in the unlikely position of being a young duo who could (reasonably) become two of this generation’s sharpest social commentators. “Plants and Worms” is likely just the beginning- and it’s already too important to miss.

Watch “Plants and Worms” below and pre-order Girlpool (the EP which “Plants and Worms” is taken from) from Wichita here.

Screaming Females – Wishing Well (Stream)

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Even with recent Monday’s bringing a lot of great new content into the world, today was exceptionally gigantic. Everything that appears in a hyperlink is worth clicking over to experience and choosing what to feature was insanely difficult. Enough with the exposition, though, because there’s a lot to mention- which is why each of these categories will be provided with their own paragraph (starting with this very one). In the world of full streams, NPR’s First Listen series presented Meattbodies’ self-titeld stomper, New Noise Magazine put up a full stream of Heart Attack Man’s excellent Acid Rain EP, Stereogum hosted the first stream of Greylag’s enchanting self-titled debut, and Dark Thoughts posted the blistering (and damn near perfect) ripper of an EP, Four Songs, on their own.

Over in the territory of single song streams, Radical Dads posted the remarkably compelling “Cassette Brain“, Popstrangers continued to excel with a Mack Morrison cover, post-hardcore supergroup Vanishing Life lived up to their promise (and then some) with the vicious “People Running“, The Mantles raised the anticipation for their forthcoming Memory with its jumpy title track, there was the deliriously riffed-out “Mortality Jam” that came courtesy of Hound, another extremely promising look at Night School‘s upcoming EP (following the outstanding “Birthday“), Wilful Boys’ snarling rager “Anybody There“,  the pulverizing new synth’ed out post-everything track “10,000 Summers” from the incredibly unlikely group of people that make up No Devotion, and an absolutely breathtaking song from Infinity Crush called “Heaven” that easily ranks among the most gorgeous pieces of music to be released this year (and very nearly took today’s feature spot).

Jumping to the realms of the more visually-inclined medium, things were just as tantalizing with no less than seven music videos worth watching. Greys crafted a creatively animated and hard-hitting skate-heavy clip for If Anything bruiser “Adderall“, Lushes hit a sweet spot with their repetition in “Traffic“, Obits used minimalism to a sizable effect in the low-key clip for “Machines“, newcomer Pix made a splash with a subtly haunting accompaniment for the stunning “A Way To Say Goodbye“, The Wooden Sky raised their profile with a fascinating short film to back “Saturday Night“, site favorites Radiator Hospital premiered a lovely DIY clip for “Bedtime Stories (Reprise)” over at Rookie, and Martha more than lived up to all of their praise with the unabashedly joyous video for “Present, Tense” (another entry that came dangerously close to being today’s feature).

Even with all of that formidable competition nipping at its heels, Screaming Females‘ “Wishing Well” managed to be a clear-cut standout. Boasting one of the most massive choruses the band’s ever had, some of the lightest verses they’ve ever conjured up, and an overwhelmingly sunny melody, it’s impossible to ignore. “Wishing Well”, by all accounts, is an absolute monster of a track and lays waste to the poppiest territory they’ve ever tread. Guitarist and vocalist Marissa Paternoster keeps herself in check, showing surprising restraint and a vice-like grip on total command. It’s no secret that Screaming Females are one of the best live bands currently playing shows- and it’s not even remotely surprising that “Wishing Well” has become both a fan favorite and an undeniable staple of their live set.

As Paternoster noted in the brief segment that ran with the Rolling Stone premiere of “Wishing Well”, a lot of people will likely view this as a departure for the band- despite the fact their regular dynamics are still in tact. Sure, it’s more melodic than anything they’ve done in the past but it’s also unmistakably Screaming Females, definitively proving the group’s unique identity. In terms of aggression, “Wishing Well” skews closer to Paternoster’s Noun project and acts as an exhilarating bridge between both vehicles, suspended by pure determination and innate talent. “Wishing Well” is easily one of 2014’s most thrilling songs and comes backed with what may very well be the band’s personal best- “Let Me In” (another fan favorite and live staple)- rendering this 7″ nothing short of an event.

Listen to “Wishing Well” below and make sure to pick up the 7″ it headlines directly from the band on one of their upcoming tour dates or pre-order it from iTunes.

Eugene Quell – A Great Uselessness (EP Review, Stream)

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During the mad scramble of post-festival coverage, there was more than a month’s worth of material to go over. So, naturally, some releases slipped through the cracks. What that was attributed to is impossible to definitively state. Now, with today being a relatively slow day for new material (apart from the NPR First Listen streams of the new Blonde Redhead and The Gotobeds, that is), there’s a perfect opportunity to feature what’s proven to be one of the best releases of August: Eugene Quell’s A Great Uselessness.

Continuing on where the delightfully raucous Eugene Otto Quell left off back in January, Quell’s second EP of the year expands on everything that made his debut effort such an unlikely powerhouse. There’s still a weary confidence that roots these songs in something that feels both entirely real and connected to something completely intangible. All of the songs still feel like they’d fit snugly into the Double Double Whammy and Exploding in Sound wheelhouses, full of peculiar melodicism and searing blasts of fuzz. Off-kilter pop gets consumed by a ragged punk influence, resulting in something inexplicably compelling and expertly delivered.

What sets Quell apart from a growing number of like-minded peers is his grasp on songcraft. Every single one of the four songs on A Great Uselessness twists and turns, taking left turns where they could have just gone straight. It’s something that’s evidenced straightaway with the harsh 1-2 punch of “Hell Presidente” and “That One Song”, which both feature a completely unhinged manic energy and a tendency to lean towards the subversive. In the case of the former, it’s an absolutely gorgeous slow-burning bridge that winds up being a calm spot of sea in the middle of an otherwise ferocious onslaught- while “That One Song”, on the other hand,  grows even fiercer and more deranged before falling apart into remarkably compelling ambient chaos.

Both of those first two songs also reveal Quell’s grunge, emo (think Sunny Day Real Estate), post-punk, and indie influences, something that A Great Uselessness‘ penultimate track, “Alta Loma” also underscores. Where the EP cements itself as a collection necessity, though, is the elegiac acoustic closer “And There Goes the Drugs”. For that song, Quell presents himself at his most vulnerable, leaning closer to Elliott Smith than Archers of Loaf.  It’s a genuinely stunning moment that caps off another extraordinary effort from the Brighton-based musician, closing A Great Uselessness out on a note of intrigue that manages to further his promise. This isn’t just one of the best EP’s of August- it’s one of the best of the year.  

Listen to A Great Uselessness below (and read along, as Quell’s graciously provided lyrical copy for each song) and order it from his bandcamp here (for US residents ordering a physical copy, expect to pay shipping).