Heartbreaking Bravery

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Tag: P.W. Elverum

18 of ’18: The Best Songs of the Year

2018 saw more songs considered for coverage at Heartbreaking Bravery than any of the now 5+ years its been in existence. Thousands of tracks were heard and hundreds upon hundreds were mentioned in some way. The 18 selections below represent the best of that crop, while the overall batch holds true to this publication’s mission: to give praise to the under-represented. Nearly half of the tracks selected weren’t released as singles and some still have only been heard a scant few hundred times. Taken as a whole, these serve as a representation of a frequently overlooked slice of 2018’s finest.

Spring Onion – I Did My Taxes For Free Online

While a resurgent Remember Sports had a very strong showing in 2018, the best track to Carmen Perry’s name was through the Spring Onion project. “I Did My Taxes For Free Online” is a bit of rare perfection, tapping directly into the weary malaise of modern young adulthood. A mid-tempo acoustic-driven Americana pop song, “I Did My Taxes For Free Online” is astonishing on both a musical and narrative level, the little flourishes (the banjo, the auto-tone) enhancing an incredibly engaging slice-of-life story that never wears out, no matter how many times its played. In short, “I Did My Taxes For Free Online” is nothing short of a minor miracle.

Young Jesus – Deterritory

In 2012 Young Jesus took a gigantic leap forward as a band with Home, which was the first of their releases to indicate the reach of their outsize ambition. Nearly every release since then, the scope of that ambition has been stretched further as the band’s evolved. The Whole Thing Is Just There, their first true release under Saddle Creek finds the band in their most exploratory mode to date, having morphed into a free-punk band.

Deterritory“, the record’s lead-off single, was a clear indication of Young Jesus’ growth: elements of art-punk, classic emo, and post-hardcore enveloped their early roots to create something singular and breathtaking. No second’s wasted, even when the band embraces improvisation with no reservation. For as loose as some of “Deterritory” may feel, the song’s final 20 seconds are the fiercest and most concise piece of music the band’s offered up to date.

The Little Miss – Take Me, Too

Take Me, Too” is a virtually unknown song from an artist who got next to no coverage for their last record. It’s also one of the year’s best songs and a testament to the fact that PR’s main purpose isn’t inextricably connected to talent or worth. Few, if any, songs to have come out in 2018 hit as hard and with as much unforgiving force as this sparse look at mortality, which welcomes death’s inevitability without resorting to overwrought histrionics.

Tender, empathetic, and knowing,”Take Me, Too” is a song that aches, yearning for resolution while maintaining a grounded, dignified sense of humanity. As a result, the song stands as one of the most unexpectedly breathtaking closing tracks in recent memory.

Trace Mountains – A Partner To Lean On

LVL UP disbanded in late 2018 but at that point, the year had already provided a cushion of hope for the future work of its members with Dave Benton’s project Trace Mountains releasing a career-best work in A Partner To Lean On. The title track of that record finds Benton in vintage mode, opening with a stanza that dives straight into the connection between spirituality and nature.

“A Partner To Lean On” is also an impossible-to-shake mid-tempo toe-tapper that elevates itself by the nature of its own restraint, leaning into intuitive decisions with an infectious confidence that’s rooted in calmness. Clear-eyed and warm, “A Partner To Lean On” winds up as one of Benton’s best songs, putting it in exceptionally strong company.

Whitney Ballen – Black Cloud

You’re A Shooting Star, I’m A Sinking Ship was an absurdly strong debut effort from Whitney Ballen, highlighted by both unexpected turns and a frequently brutal level of emotional honesty. “Black Cloud” provided the record’s apex of both, something that intersected on the song’s early dip into jaw-dropping heaviness. A haunted look back at early warning signs, the song embraces the narrative’s stormy tumultuous nature with gritted teeth and a snarl. Oscillating between pensive and punishing, “Black Cloud” secured a rightful place as one of 2018’s most intentionally jarring highlights.

Dilly Dally – Sorry Ur Mad

Dilly Dally spent 2018 enjoying a resurrection of sorts, having almost hung up their instruments for good while battling internal demons. Heaven, the quartet’s sophomore effort, frequently chronicled the difficult path to their own salvation, resulting in some of the band’s best songs to date. “Sorry Ur Mad” was delivered, arguably, as Heaven‘s centerpiece (in a narrative sense as well as being the album’s halfway point).

A determined tour de force, “Sorry Ur Mad” propels itself forward by virtue of sheer blunt force, the composition ratcheting up the tension with its attentiveness to dynamics, stop/start rhythms inducing a palpable sense of nervous energy. The rare song that manages to increase its grip incrementally up until the breathtaking finale, “Sorry Ur Mad” charts a scrappy path to incredibly memorable terrain.

Fred Thomas – What The Sermon Said

The last three records that Fred Thomas has released comprised a trilogy that contained the best work of the journeyman’s quietly illustrious career. “What The Sermon Said”, the spellbinding capper to an incredible run, found a way to stand out. The song’s first half operates in an explicitly ambient, stream-of-consciousness format before morphing into one of the most devastating narratives Thomas has delivered since the heartfelt eulogy that drove “Every Song Sung To A Dog“.

A seamless transition bridge the two halves, a melancholic saxophone figure being enhanced considerably by a simple, elegiac string arrangement. Thomas spends the song’s final minutes detailing a trip to the chapel, looking for hope and finding nothing but an increasing sense of alienation. “What The Sermon Said” may or may not be a commentary on the difficulty of aging and the challenges it can present or it may just be an unflinching look back at a time of relative desperation but no matter how its viewed, the overwhelming cumulative effect lingers long enough to leave a scar all its own.

Gouge Away – Ghost

Gouge Away‘s most recent work stood out as a career best and saw the band, clearly operating with a sense of invigoration, stretch their range in surprising ways. “Ghost” was the most noticeable evidence, an uncharacteristic — even pretty — slow-burner from the incredibly ferocious post-hardcore act. The song presented something of a risk but paid off with huge dividends, propelling the band’s recognition forward with ease, coming off as something of a victory lap for an incredibly hard-working band that’s deserved more attention from the word go.

Miya Folick – Thingamajig

Trouble Adjusting” served as an introduction-at-large for many to the world of Miya Folick, which flashed a lot of promise in its raw basement pop-friendly aesthetics. Since that song’s release, Folick’s taken a somewhat unpredictable path that’s taken the songwriter to “Thingamajig” a painfully gorgeous ambient pop track that served as the unexpected opener to Premonitions.

Working in a mode that’s reminiscent of Half Waif’s recent body of work, Folick delivers an incredible career best, taking a long, reflective look at autonomy and decision-making that could feasibly double as a thesis statement for what Folick hopes to accomplish as an artist. “Only you know what to do”, the songwriter repeats at the song’s hushed close, infusing the delivery with not just meaning but intent, creating an impression that lets the listener know Folick’s in this until the end.

Evening Standards – Lil Green Man

A ways into the year, Evening Standards quietly released their self-titled debut, which was a near-perfect basement pop album. The record didn’t receive any notices outside of a very niche circle but did make one hell of an impression inside that circle. Formed out of the ashes of site favorites PURPLE 7, the band was already working with a strong pedigree that was evident in songs like the raucous “Lil Green Man”, an absurdly strong track that’s still earning regular spins.

“Lil Green Man” takes an intentionally ridiculous angle to explore an incredibly complex topic, using an alien invasion to reflect on the nature of existence and the meaningfulness of the human experience. Every second of the track’s wildly enjoyable and “Lil Green Man” also benefits from one of 2018’s most explosive choruses, the narrative and composition colliding in a cathartic release that suggests Evening Standards don’t actually care all that much about the answer to the question they’re raising, opting instead to revel in the moment and have as much goddamn fun as possible while they’re in each other’s company.

Cloud Nothings – Leave Him Now

Cloud Nothings returned with a slight lineup tweak once again, doubling-down on Life Without Sounds career summation but combining separate elements of their previous body of work. One of the best examples of their refined approach came courtesy of one of many of Last Building Burning‘s highlight in “Leave Him Now“. The song also separates itself from the band’s past work by containing one of the most emotionally affecting narratives bandleader Dylan Baldi has penned, fixating on a feeling of helplessness as the songwriter begs a friend to escape from an abusive relationship.

There’s an additional edge and urgency that lends itself to the music, Jayson Gerycz’s drumming returning to an otherworldly realm and standing as one of the best individual weapons the rock/punk genre as a whole has to offer. What separates “Leave Him Now” from what many view as a cloying trope is that Baldi never centers himself as a romantic option in the narrative, instead pleading for an unnamed friend to find a place of security and well-being that’s evaded them as they’ve fallen prey to predatory behavior, leaving “Leave Him Now” as one of the band’s strongest overall compositions.

Basement Revolver – Baby

One of the many, many bands that can’t seem to stop topping themselves by wide margins is Basement Revolver, who delivered one of 2018’s most unexpected gut-punches with the aching “Baby“. A song pleading for forgiveness and patience while navigating the internalized fears and trauma that frequently accompany young relationships, “Baby” may have been strong enough to secure a spot on this list by the nature of its deeply human subject matter.

What puts “Baby” well above the cut is its delivery, enhanced in no small part by a chill-inducing arrangement and bandleader Chrisy Hurns’ emotional vocal delivery. On many levels, “Baby” is an absolutely overwhelming listening experience, bordering voyeuristic as Basement Revolved surrenders completely to the apex of the unbridled levels of intense, competing feelings when the problem’s as hard to identify as the solution.

Tomberlin – I’m Not Scared

At Weddings announced Tomberlin as a major voice, which was all but cemented with early single “I’m Not Scared“. A rumination on personal hardships, both arbitrarily assigned and self-inflicted, “I’m Not Scared” was the most unforgiving track on what proved to be a very thematically difficult record. Driven by piano and a restrained string arrangement, “I’m Not Scared” bounces from harsh observations about everything from outside judgment to the physical pain that accompanies bodily function.

To completely bridge the song’s narrative arcing, “I’m Not  Scared” balances those two elements against each other and lets those observations inform a devastating conclusion, summed up by the chorus: And to be a woman is to be in pain/And my body reminds me almost every day/That I was made for another, but I don’t want to know that/Cause it happened once and I always look back. Searing and searching, the song’s painful honesty translates into a major moment for the emergent songwriter.

Big Ups – Imaginary Dog Walker

Big Ups were another band that hung it up (at least for a while) in 2018, going out on the startling artistic high note that Two Parts Together provided. Appropriately the record’s high point was its closer, “Imaginary Dog Walker” something that coincidentally summed up Big Ups’ long-held mastery of creating tension. “Imaginary Dog Walker” had been a highlight of the band’s live set and the studio recording more than does the song justice, using its slow simmer as if they were a set of sharpened fingernails sinking deeper into flesh. No song over the band’s astonishing discography seethed or detonated quite like this one, which sees the band going out on an absolutely extraordinary note and a career best that will be near impossible to top if they ever decide to return. Fingers crossed that at some point, they wind up trying.

Mount Eerie – Distortion

No recent run of songs has been as uncomfortable to listen to as the diaristic work that Mount Eerie‘s released of late, explicitly chronicling Phil Elverum‘s own experiences in the wake of his former wife’s recent, unexpected death. The internal conversation to include any of this work, which is deeply personal, remains. “Real Death” did manage to steal away 2017’s Song of the Year honors but it now has an equal in the 11-minute sprawl of “Distortion“, which is structured like an epic.

Opening with humming washes of distortion, the song quickly sinks into an intricate, acoustic finger-picked pattern and delivers a knockout first stanza:

But I don’t believe in ghosts or anything I know that you are gone and that I’m carrying some version of you around Some untrustworthy old description in my memories And that must be your ghost taking form Created every moment by me dreaming you so And is it my job now to hold whatever’s left of you for all time? And to reenact you for our daughter’s life?

“Distortion” doesn’t let up from that point forward, chronicling Elverum’s travels and real-life confrontations with death, equating the songwriter’s own journey to the beat poets that are referenced throughout the song. It’s an uncomfortable, implicit analogy that grows increasingly real when presented with the context of Elverum’s life. There are moments of bitterness, ugliness, and cruelty that are unavoidable as we fight to find meaning in our lives and Elverum presents that revelation with a commendable directness.

By the time the song comes to its fittingly devastating conclusion, it’s somewhat difficult to return to interacting with personal surroundings. Immensely complex and emotionally draining, “Distortion” has the unique effect of both sapping energy and burrowing into listeners’ consciousness, nestling next to a void that we all have to eventually face and reconcile. Texts like “Distortion” will help with that process when the time comes, making the unthinkably brave work Elverum’s doing incredibly valuable and worth experiencing, especially in moments where it’s of need.

Half Waif – Silt

Lavender represented an inspiring step forward for Nandi Plunkett’s Half Waif project, easily separating itself from a very crowded field to stand as one of the most moving releases of 2018. Informed heavily by a sense of separation (in both a familial and a personal sense), Lavender lands its most memorable knockout blow with “Silt”, which is the kind of track that can make the world stop.

Arriving around Lavender‘s halfway mark, “Silt” opens and closes with gorgeous analog synth tones, book-ending Plunkett’s swan dive into a search for self-worth and reassurance while trying to grapple with an incredibly clouded, distant state of mind. One of the many tracks on this list that benefits from a naked honesty that confronts a damaging impulse, “Silt” finds a way to stab deep into the heart of what it means to be left at a loss. Cold in nature but warm in its delivery, “Silt” is a startlingly potent reminder of Plunkett’s increasing talents as a songwriter.

Long Neck – Milky Way

Jawbreaker Reunion was the first band to push Lily Mastrodimos‘ name to a larger audience but that band supplemented Long Neck, a solo project that’s gradually evolved into a full lineup. Both acts seemed to benefit each other, seeing Mastrodimos’ confidence grow in both settings with the increased recognition. Still, with a handful of songs that were frequently incredible, what Long Neck achieved with Will This Do? came as a surprise, presenting the most direct, confrontational, and brave work of Mastrodimos’ young career.

“Milky Way”, part of the record’s astonishing closing stretch — which still stands as 2018’s strongest end run — was a testament to that growth. Much life Half Waif’s LavenderWill This Do? was shaped by the inevitability of familial death, which is alluded to on “Milky Way”. The song’s foreboding opening breaks into a quick jaunt, oscillating back and forth, centering on a narrative of uncertainty as the makeup of the world changes around the narrator. Frequent reminders to stay awake are issued, while a portrait of grief peeks through the narrative trappings, leading to one of the year’s most emotionally volatile closing sections.

A simple but blistering guitar solo, mired in darkness suddenly surrenders to daybreak once again before Mastrodimos drives “Milky Way” home with an abundance of feeling, conjuring a chilling picture of total, complete helplessness:

Sore feet and sore eyes and it’s nothing, it’s nothing. Echoes in our cave. I sat to watch the sunset and I just fucking lost it. 

The song’s final twist of the knife “And I just fucking lost it” repeats 9 times in total, each instance growing more pained and frantic, louder in its despair, stubbornly resilient as the song deteriorates around the mantra, suggesting that sometimes there is no comfort aside from acceptance and release. One of 2018’s most unforgettable individual moments by miles.

SONG OF THE YEAR

IDLES – Samaritans

Few songs this year hit outward and with as much as force as IDLES‘ seething take-down of toxic masculinity and the cultures that not only encouraged men to be emotionally repressed and overly competitive but allowed it to thrive. A centuries-long cultivation of what it means to be a man was frequently, justly challenged over the past few years with increasing fervor. “Samartians” lends its voice to that fight, railing like hell against a methodology that’s created borderline irreparable damage through a precedent of repression.

Whether that repression’s self-inflicted on an emotional level or maliciously leveled against women in more executive terms, IDLES have every right to be pissed off at the practice. The APA recently released a study backed by 40 years of research that deemed “traditional masculinity” (which was largely built on inherently toxic notions) as harmful. “Samaritans” is a song that’s well aware of its topics nuance and wisely anchors itself with father-sibling relationships, bringing the effect into focus with the absolutely brutal hook This is why you never see your father cry. This is why you never see your father. 

From its incendiary start to its jaw-dropping final section, “Samaritans” seethes to the point of shaking, intense rhythm section sending the song hurtling forward to its punishing finale. Expectations are confronted and stared down at every turn within the narrative (which is further supplemented by the montage video the song was gifted, which can be seen below) as the music provides even more retaliatory purpose.

While the whole song’s worth praising, special attention has to be paid to the song’s final minute, which significantly elevates the song’s intensity after a remarkably beautiful guitar-driven bridge. the song tips over into something sublime as vocalist and principal kicks the song into fifth gear, roaring “I KISSED A BOY AND I LIKED IT”, triggering a musical detonation that may very well have been 2018’s punchiest moment, guitars turning violent and almost staccato as Talbot repeats “This is why, this is why, this is why” before allowing the whole thing to collapse and drift off in smoke, creating a lasting reminder of a reckoning that’s no longer waiting on the horizon.


Further Listening:

Charly Bliss – Heaven | Doe – Labour Like I DoVundabar – Tonight I’m Wearing Silk | Kid Dakota – Keep Coming Back | Lauran Hibbard – What Do Girls Want? | The Royal They – Sludgefucker | Yowler – Where Is My Light? | Sonny Falls – Flies | Deep State – Under the Gun | Rolling Blackouts Coastal Fever – Talking Straight | Canshaker Pi – Put A Record Out | Saintseneca – Pillar of Na | Marbled Eye – Laughing Sound | Swearin’ – Grow Into A Ghost | Yakima – Point of This | Courtney Andrews Marie – May Your Kindness Remain | Billy Moon – White Shoes/Dingus | Stove – Mosquiter | Maxband – Means to an End | Jay Som – Hot BreadEx​-​Vöid – Boyfriend | The Sidekicks – Don’t Feel Like Dancing | Adrian Teacher and the Subs – Pop Medicine | Pile – Cup | Many Rooms – Which is to Say, Everything | Black Belt Eagle Scout – Soft Stud | Mike Krol – An Ambulance | Squid – The Dial | The Knees – Stammer | (SANDY) Alex G – Fay | Fenne Lily. – On Hold | Liza Anne – Small Talks | Mo Troper – Never Dream of Dying | Stef Chura – Degrees | Fog Lake – California | Katie Preston – The Art of Falling Apart | Goon – Enter Bethel Admissions | Paul de Jong – You Fucken Sucker | Remember Sports – Up From Below | Jack Symes – Cool God | Sharkmuffin – Your Stupid Life | Juan de Fuca – A Place to Wait | Closet Goth – Touch Myself | Pip Blom – Come Home | Hit Bargain – Capitulate | Joe Pera – Warm Apple Night | bed. – Replay | Washer – Super Pop | Annabel Allum – Rascal | Bent Denim – Chasing Catherine | Mutual Benefit – Storm Cellar Heart | Gabby’s World – Winter, Withdraw | Say Sue Me – Coming to the End | Maria Kelly – Small Talk | Yowl – Warm (in the Soft White Light of Modern Living) | Birds In Row – 15-38 | Lonely Parade – I’m So Tired | Ovlov – Spright | Nano Kino – Sick Dreamer | gobbinjr – Afraid of Me | Grouper – Driving | Petal – Better than You | Yours are the Only Ears – Fire in my Eyes | En Attendant Ana – Night | Jonathan Something – Fine | Sean Henry – The Ants | Curling – Still Green | Yumi Zouma – France (Grande Boulevards) | LVL UP – Orchard

17 of ’17: The Best Songs of the Year

2017 was a staggeringly balanced year in terms of memorable musical output. To honor that consistency, the typical run of 17 songs will be complemented by a list — in no particular order — of 83 other great songs to find release throughout the year. As usual, the “best” tag simply acts as shorthand for the music I was fortunate enough to consume from January through December, which had an individual song list that tallied well into the quadruple digits.

Names that are already familiar to year-end lists on this publication reside comfortably alongside artists who are still looking to make a larger impression. Non-singles are included with some of the year’s strongest advance tracks and songs that tip towards hardcore rub shoulders with some quiet basement pop numbers. There’s a lot to contemplate — both inside and outside of the top 17 selections — and even more to celebrate.

These are the 17 best songs of 2017.

Enjoy.

Great Grandpa – Teen Challenge

One of the great album openers of 2017, “Teen Challenge” reintroduced a noticeably more explosive version of Great Grandpa that wasn’t afraid of hairpin turns or controlled catharsis. From the outset of “Teen Challenge” the band is swinging for the fences but it’s not until the enormous final section where something deeply impressive transforms into something legitimately inspiring. It’s a celebratory song that comes loaded with conviction and is delivered with the type of determination that refuses to be held back.

Mo Troper – Your Brand

One of this site’s picks for last year’s Album of the Year honors, Mo Troper returned this year with two records. One, a collection of older material reworked for Troper’s current band, the other, an inspired effort of new material that saw Troper expanding his ambitions to legitimately unexpected degrees. The elevation of both songwriting and production on Exposure & Response is particularly evident in career highlight “Your Brand“, which finds Troper turning his gaze towards the brand-obsessed inhabitants of social media, people who treat themselves as corporate entities and flaunt varying levels of entitlement.

Occasionally, those same denizens find the levels between tongue-in-cheek mockery and unwitting sincerity blurring into an unrecognizable definition. It’s a richly-deserved skewering that’s shot through with a resigned understanding. The tasteful string and brass arrangements that adorn “Your Brand” send the song to euphoric heights even as Troper is weighed down in the bog of a tragicomic reality. It’s a masterful outing that positions Troper as one of the most promising pop songwriters of this generation.

Cende – What I Want

Cende‘s first and final full-length effort was an enticing effort headlined by a slew of singles that all warranted consideration for placement on this list (and earned individual write-ups). None of them wound up impressing quite as deeply as the song boasting the record’s most challenging — and towering — arrangement, the Greta Kline-featuring “What I Want“. Falsettos, a lilting string arrangement, and an incendiary bridge showed off Cende’s formidable range, tilting from something approaching the saccharine to a vicious instrumental outburst at the click of a hi-hat.

Charly Bliss – Westermarck

Few bands have earned as much attention and praise from this site as Charly Bliss over its four-year existence and it was heartening to watch the band break out in 2017 with one of the year’s most affirming releases in Guppy. While every track on that record is noteworthy for one reason or another, it was “Westermarck” that kept revealing deeper facets of itself. A rousing meditation on uncertainty couched in an unapologetic joy of simply being alive, the song became an unlikely anthem for anyone questioning their partner’s motives (especially in significantly skewed familial setting).

Common Holly – Nothing

Tender, sparse, and wrought with longing, Common Holly‘s “Nothing” proves how adequately minimalist formulas can maximize difficult emotions. It’s a bare-bones run through a personal affirmation, rendering something that appears delicate at first blush searing at second glance. More than that, “Nothing” introduces Common Holly as a deceptively powerful artist with the capacity to deliver breathtaking turns in the quietest rooms.

Weaves – Puddle

Riding a wave of critical adulation and having earned the respect of their contemporaries, Weaves returned in 2017 with Wide Open, an aptly named run that they billed as their Americana effort. While the record takes a lot of notable cues from that genre, the band’s wildly erratic, genre-obliterating core remained intact with the barn-burning closer “Puddle” acting as the clearest indication that the band’s unpredictable firepower was still fully intact.

Fred Thomas – Misremembered

Following a record as momentous as All Are Saved will always be a difficult task but to surpass high expectations in the way that Fred Thomas managed with Changer is a rarity. From the record’s dynamic opening track, Thomas proves to be more focused than ever, spinning barbed tapestries of lived-in realism with unmatched verve. “Misremembered” isn’t just a testament to Thomas’ lyricism, either, the fiery music that serves as its backdrop propelling it to stratospheric heights.

Big Thief – Breathe In My Lungs

A lot of outlets gave Big Thief‘s breathtaking “Mary” a deserving amount of love, ranking both the song — and the record it resides — as the year’s best. Meanwhile, the band’s devastating B-side, “Breathe In My Lungs”, flew under the radar. As is often the case with bands as prolific and talented as Big Thief, “Breathe In My Lungs” is so much more than just a castaway or afterthought, it’s one of their most heartrending numbers, expertly using the considerable weight of guitarist/vocalist Adrianne Lenker’s singular voice to turn in some of the year’s most unforgettably damaged romanticism.

Cayetana – Bus Ticket

2017 saw a very large handful of bands taking the next step in their evolution but few seemed to take their strides forward with as much assurance as Cayetana, who zeroed in on what’s long been the crux of their songwriting: mental health. No song conveyed this more than their staggering “Bus Ticket“, which saw the band slowing the tempo and accelerating the force the trio’s always put into their compositions. Managing to be direct and atmospheric simultaneously, “Bus Ticket” stands proudly as a career high for a band that’s found their voice.

Yucky Duster – Elementary School Dropout

One of the year’s most unabashedly exuberant records came in the form of Yucky Duster‘s latest EP, Duster’s Lament. Headlined by the effusive “Elementary School Dropout”, the band offered up an irresistible slice of joyful basement pop that grounded it’s more playful elements with some effective self-deprecation. Expertly toeing the balance between the light and the bleak, “Elementary School Dropout” stood out as 3 of 2017’s most outright fun minutes in a year where that sort of thing was desperately needed.

Strange Relations – Say You

One of the boldest re-introductions of 2017 came by way of Strange Relations‘ enormously confident Editorial You, which was teeming with memorable bursts of icy post-punk that saw the band considerably elevating their grasp on composition. One of the most significant individual outings for the project comes on the record’s second track, “Say You“, which conjures up a steely demeanor and enhances it with fiercely jagged musical interplay. Both minimalist and towering, it’s an obscenely impressive song from a young band that seems determined to continuously reach for greater heights.

Covey – Call Home

There were a lot of songs that came out over 2017’s 12 months that occupied a similar space as Covey‘s “Call Home”: laid back, lovely, unassuming, and tinged with regret, loneliness, and despair. None of them wound up staying the way “Call Home” managed to stay; the song’s melodies and gorgeous chorus humming along and dominating unexpected spaces of memory when it could’ve just as easily rescinded into oblivion. Every return listen offered a new take and at some point, the song migrated from being a pleasant curiosity to something far more essential: one of the year’s best.

IDLES – Mother

Recently given Music Video of the Year honors, IDLES‘ “Mother” also comes off as a ferocious head-turning effort when stripped from its hyper-intense visual accompaniment. Vocalist Joe Talbot repeats several mantras throughout “Mother” — written as a tortured tribute to his own late mother, whose portrait graces the record’s cover — each of them decrying two evils: one political, one sexual, both too frequently intertwined into a nightmarish whole.

Viciously opposed to a system that uses a weighted system to the benefit of the people who are afforded privilege, the song is a startling reminder of the seething anger and frustration of the people who oppose those systems. It’s a clarion call delivered with an excess of venom, using it’s hardcore leanings to drive a message home hard enough that the ramifications of our choices are left lingering in the smoke.

Palehound – If You Met Her

A beacon of consistency over the past several years, news of a new Palehound record was welcome when it was first announced. The first few singles were packed full of the band’s usual tricks but then “If You Met Her” arrived and decimated everything. A hard-hitting look at how the loss of someone you know can affect your own perception of what it means to die, “If You Met Her” immediately registered as not just Palehound’s darkest effort but the project’s best as well.

It’s a gripping, grounded meditation on life itself and it’s delivered with such empathetic understanding that it’s nearly impossible to listen to the song in full without running through an avalanche of feeling. Anything that inspires that level of emotional response and visceral reaction is worth noting — and in the case of “If You Met Her”, it’s more than worth celebrating.

Young Jesus – Feeling

A longtime staple of this site’s coverage, Young Jesus have continuously found exciting ways to evolve as a band in the face of a slew of obstacles that leave lesser bands stumbling. From nearly complete lineup shifts to a refocused experimentation to a relocation that took them from the upper Midwest to the West Coast. The band’s latest effort saw a quick self-release suddenly disappear only to be re-released shortly after by Saddle Creek.

All it takes to understand why such a revered label would take on the band is one listen to “Feeling”, a sprawling 10-minute opus which beautifully showcases the band’s remarkable range, guitarist/vocalist John Rossiter‘s penchant for blending memorable poetry with unforgettable melody, and a growing fearlessness. It’s a heart-stopping moment on what remains one of 2017’s most woefully overlooked records and reaffirms Young Jesus’ place as one of today’s best bands.

The Magic Lantern – Holding Hands

Easily one of 2017’s outright loveliest moments, The Magic Lantern‘s “Holding Hands” casts a spellbinding magic all its own within its opening figures, as a yearning vocal is laid on a bed of gentle saxophone figurines. As the notes and vocals hold — with as much purpose as the imagined goal of the narration, no less — the song winds up with enough power from two core elements to elicit chills.

When the body of “Holding Hands” takes shape as the drums kick in, providing yet another one of 2017’s most perfectly-realized moments, it becomes abundantly clear that something miraculous is happening on the track. By the time it all winds to a ghostly close, “Holding Hands” has left a mark that deserves to be called upon fondly in the days to come. In all of it’s warmth and care, “Holding Hands” pushes forward from a simple greatness and achieves something far closer to transcendence.

SONG OF THE YEAR:

Mount Eerie – Real Death

When Mount Eerie‘s “Real Death” first arrived, it was set to get a standalone feature. That post never arrived as I personally struggled with the decision to attempt to bring any sort of discourse to something so nakedly personal, which held true for A Crow Looked At Me (the record it’s from) as well. As time passed, that decision lingered, though it became increasingly difficult to listen to both the song and the record, famously written about the death of the songwriter’s wife and recorded in the studio she’d built in their house, on the instruments she left behind.

Even without being able to listen to the song, the memory of the song stayed as strongly as the feelings that accompanied the first listen (as well as the subsequent ones). It’s the sound of Phil Elverum tearing his own wounded heart out of his body to present to the world so that they can understand what kind of grief accompanies something so tragically world-shifting.

While every moment of “Real Death” is shattering, the weight of it becomes nearly unbearable when Elverum shifts the lyrics from oblique poetry to a hyper-specific narrative, recounting one moment of singular heartbreak that arrived with a package that has late wife had secretly ordered for their daughter. In that retelling, Elverum envisions his wife, living with the knowledge that her wife would be ending, thinking ahead and wanting to provide comfort for the people she loved.

Not only does that specific moment touch upon why Geneviève was someone he loved so fiercely but, in doing so, provides the song’s listeners a glimpse into her character as well. It effectively shifts the tonality of the record even further toward heartbreak by painting such an intimate portrait, making “Real Death” come across as even more unmistakably, painfully human. It’s a tribute to an artist that so many of us wish we knew and stands as a stark reminder to cherish the ones we do know while we can and to strive to match their gifts with our own.

By positing real-life implications alongside meaningful execution, “Real Death” became something much larger than the sum of its parts. In plumbing the depths of personal loss, Elverum’s Mount Eerie projected gifted us something hard to experience and impossible to forget. With any luck, it will steer us towards more effectively demonstrating our love when it can be appreciated by the people for which it’s intended.

 

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The Best of the Rest

18-21

22-26

27-32

Middle Children – Baby Boom
Joyce Manor – NBTSA
Thurst – Forever Poser
The New Years – Recent History
Monomyth – Puppet Creek
Hermetic – Strategic Default

33-100

Protomartyr – A Private Understanding
Alexander F – Call Me Pretty
Pile – Dogs
Vagabon – Cold Apartment
Cloud Nothings – Internal World
Prom Queen – Blonde
Holiday Ghosts – Can’t Bear To Be Boring
Washer – Dog Go Bark
Grouper – Children
Slaughter Beach, Dog – Fish Fry
Fits – Ice Cream On A Nice Day
Meat Wave – Run You Out
The Spirit of the Beehive – Ricky (Caught Me Tryin’)
Walter Etc. – April 41st
Chemtrails – Deranged
Juila Louise – Brat
See Through Dresses – Lucy’s Arm
Amy O – Lavender Night
Modern Baseball – This Song Is Gonna Buy Brendan Lukens A New Pair of Socks
Girlpool – It Gets More Blue
The Total Bettys – Stay Here All Night
Tica Douglas – Same Thing
Midnight Reruns – Warm Days
WHY? – Proactive Evolution
Hand Habits – Sun Beholds Me
Long Neck – Mine/Yours
Julien Baker – Appointments
Anna Burch – Asking 4 A Friend
Palm – Walkie Talkie
Single Mothers – People Are Pets
Lydia Loveless – Desire
Deem Spencer – Soap
Two Inch Astronaut – Play To No One
Blessed – Headache
Diet Cig – Maid of the Mist
Madeline Kenney – Big One
Dream Wife – Somebody
Bethlehem Steel – Finger It Out
Strange Ranger – House Show
Miya Folick – Trouble Adjusting
Jesca Hoop – Pegasi
Fiji-13 – Mansplain It To Me BB
Idle Bloom – Dust
Florist – What I Wanted To Hold
Beachheads – It Feels Alright
Fruit & Flowers – Out of Touch
Ratboys – The Record
Schlotman – Holy Basil
Lost Balloons – Numb
John Rossiter – Mom Guitar
Lomelda – Interstate Vision
Walter Martin (ft. Matt Berninger) – Hey Matt
Jay Som – The Bus Song
Japanese Breakfast – The Body Is A Blade
Screaming Females – Glass House
Phoebe Bridgers – Smoke Signals
Open Mike Eagle (ft. Sammus) – Hymnal
Half Waif – Frost Burn
Petite League – Pocketknife
Say Sue Me – Bad Habit
Petal – 15
Waxahatchee – Silver
Jason Isbell & the 400 Unit – If We Were Vampires
Siobhan Wilson – Whatever Helps
Sammi Lanzetta – Circles
Deep State – Nothing Speaking
Saintseneca – Moon Barks at the Dog
Lithuania – 5000 Year Leap

First Quarter Full Streams, Pt. 2

LVL UP II

As was noted and clearly evidenced by the last post’s overabundance of content, 2015’s off to a particularly strong start in terms of memorable records. While a few of those 75 entries from that post do have a shot at working their way into the upper echelons of the year’s finest by December, the 25 full streams listed below are among 2015’s very finest offerings. From demo compilations of old material to split EP’s to full-lengths, everything on this list is worthy of an immediate purchase. A few of these are pulverizing shows of force, a few are immediate sugar-rush blitzes, and a few are quietly devastating. All of them are releases I’ve listened to multiple times over and formed very extreme connections with on a myriad of levels. Don’t make a regrettable decision by not giving any of the unfamiliar titles a fair shot: there’s a release here for just about everyone.

1. Quarterbacks – Quarterbacks

Quarterbacks have earned a fair amount of praise from this site and a large amount of that’s been for their exhilarating self-titled, which is the band’s first complete full band effort. Recalling the transition that Radiator Hospital made with their brilliant debut full band full-length effort, Something Wild, Quarterbacks doesn’t pull any of its punches. It’s a spiky record that lends Dean Engle’s songs a ferocious punch that comes with a lingering bite.

2. Tenement – Bruised Music: Volume 1

I’ve written an enormous amount of words about my unending love for Tenement. Some of those words can be read in the zine that comes packaged with this record. One of my favorite bands, if not outright favorite, for nearly a decade, Bruised Music: Vol. 1 is the perfect reminder of why I fell for this band in the first place. A compilation of early material from long out-of-print 7″ records, compilations, and other various scraps, this is the definitive starter kit for anyone looking to retrace Tenement’s career path to its humble beginnings. Unsurprisingly, it’s also ridiculously brilliant. Expect to see more words about this record published on this site in the coming months.

3. Krill – A Distant Fist Unclenching

Krill forever.

4. Hailey Wojcik – Book of Beasts

One of the year’s best early surprises, Hailey Wojcik’s Book of Beasts EP has all the makings of what could (and should) prove to be a career-making effort for the singer/songwriter. Dark tones, brilliant composition, strong melody, and an incredibly alluring voice is always a dangerous combination. Here, each one of those elements is shot through with a Gothic Americana sensibility that manages to find its niche in forward thinking. It’s an incredible release and deserves much more attention than it’s been receiving. Bonus points for offering the release up on bandcamp for the price of $6.66.

5. Daddy Issues – Double Loser

Daddy Issues may not be the most recognizable name on the market but we’re less than a month removed from the cassette release of Double Loser and the thing’s already sold out. Now, measuring a record’s strength in terms of sales is generally a deeply problematic formula- but in this case, it seems just. Double Loser has the strength of what could become a celebrated cult classic among a very particular breed of crate-diggers. Undeniably winsome and darkly enchanting, this EP cements Daddy Issues’s position as a band that’s ready for much bigger things.

6. Pope – Fiction

Heavy, cutting, and melodic in a way that hits the intersection of a wide spread of tastes just right, Pope’s Fiction is the kind of record that’s got the verve to last long after it appears on a few best-of lists. Cloaked in a wall-of-noise type production sheathe, Fiction is one of the first quarter’s most unapologetic and propulsive releases. Balancing a suspiciously taut tightrope between shoegaze and post-punk, every song manages to be breathtaking by virtue of sheer cathartic release. Pope’s made something genuinely exhilarating that deserves to be in as many collections as possible.

7. Alanna McArdle – reticular (2012-2013)

While Alanna McArdle may be best known as the lead personality for site favorites Joanna Gruesome, her career doesn’t begin and/or end with that particular band. McArdle recently released a compilation of genuinely stunning (and mostly acoustic) bedroom recordings. The guitarist/vocalist taps into something more bravely vulnerable than the trappings of Joanna Gruesome usually allows for, creating a hushed, spellbinding atmosphere. reticular (2012-2013) has been one of 2015’s more unceremonious releases but it’s also easily one of the year’s most fascinating. Already one of the most-played releases in my library, it’s a monumental entry in the career of one of the more engaging musical figures of our generation.

8. Trust Fund – No One’s Coming For Us

Cut Me Out“, one of No One’s Coming For Us‘ first singles, seemed to be a strong indicator that the band would have something special with their upcoming record. It was a presumption that the record somehow, against reasonable logic, managed to exceed. Easily the strongest effort in the band’s burgeoning discography, No One’s Coming For Us is a specatacular warning shot from the kind of band that seems like they’re setting up for the long haul.

9. Cloakroom – Further Out

Most of the description for Pope’s Fiction also stands true for Cloakroom‘s jaw-dropping Further Out. Except here, Cloakroom adds an extra layer of heaviness, which frequently relents to territory even more accessible than the realms of Pope’s niche operation level. Further Out is going to continue to stand as one of 2015’s most awe-inspiring releases as the months progress and it’ll be the kind of record people will look to for inspiration. It’s an incredible achievement and ranks among the finest releases to carry the vaunted Run For Cover tag.

10. Wildhoney – Sleep Through It

The first two months of 2015 were very kind to bands incorporating a heavy shoegaze bent into their sound, a fact furthered by listening to Wildhoney’s gorgeous full-length debut, Sleep Through It. Embracing the pop sensibilities of the genre and maximizing them without ever drifting out of post-punk’s territories, Wildhoney manages to create an incredibly appealing record that delivers on the promise of their brilliant EP. Sleep Through It is yet another album people are going to be talking about for many months (and hopefully, years) to come.

11. Lady Lamb – After

Goodbye Lady Lamb The Beekeeper, hello Lady Lamb. The rightfully-acclaimed After features songwriter Aly Spaltro at a transition phase in her career. Already a few extraordinary records deep into a continuously promising run of releases, After is already taking Spaltro to the next level(s). With the sudden name change, Spaltro managed to make her brand even more accessible without diminishing any of her other qualities. On the contrary, After may be the fiercest entry in Lady Lamb’s remarkable discography. After was initially teased with the absurdly delightful “Billions of Eyes” and the rest of the record manages to live up to those intensely high levels of promise. Listen below and fall in love all over again.

12. PWR BTTM + Jawbreaker Reunion – Republican National Convention

Two of New York’s finest emerging young bands come together to make a split EP, what can go wrong? Nothing. The answer is nothing. Jawbreaker Reunion continue to be as exciting as ever, PWR BTTM make one hell of a mark, and both “Hold Yer Tongue” and “Adventure Time” rank among the best songs of the year. Every other Valentine’s Day gift paled in comparison.

13. Slutever – Almost Famous

Punchy, strong, and incredibly catchy, Slutever followed up their near-perfect Girlpool split with this piece of magic. Expertly balancing basement pop and basement punk, Slutever take their craft to an entirely new place with Almost Famous, their finest work to date (and an absolute must-own). From the traces of sludge-punk on the reactionary masterpiece “I Miss America” to the hard-charging rush of “Maggot”, Slutever fearlessly follows their whims and explores some previously uncharted territory. Astoundingly, all of it works and leaves the band with a very real contender for EP of the Year.

14. Lighting Bolt – Fantasy Empire

Thousands of writers have tried to extol the virtues of Lightning Bolt’s furor and no one’s ever managed to match the band’s intensity. Sometimes it’s just better to let the reputation for such a singular act to do the talking- but it wouldn’t be fair to the band if I didn’t note that this just may be the very best record the duo’s ever made.

Listen to Fantasy Empire for a limited time over at NPR’s First Listen

15. Sleater-Kinney – No Cities to Love

Sleater-Kinney’s thrilling hiatus-ender, No Cities to Love, was one of the year’s first universally acclaimed records and it’s easy to see (or hear) why. Not just incredible in terms of a comeback record but as a career staple for one of the most legendary bands of our era. The trio’s sharper (and thornier) than they’ve ever been on No Cities to Love and couldn’t have scheduled their re-entrance at a better time for their fierce, commentary-heavy diatribes.

16. Midwives – LP

When Midwives put out their incendiary EP last year, I knew I’d found another Wisconsin-based band to rally behind. Naturally, the hardcore band (which boasts Graham Hunt of Midnight Reruns among its members) has followed that short order of songs up with a gloriously unhinged, shit-kicking full-length. Increasingly scrappy and direct, Midwives may very well have their sights set on bigger things- and if they don’t, those bigger things might find them anyway.

17. Spook The Herd – Freaks b/w Fermented

There’s a very particular breed of 90’s revivalism whose subversion among current bands is becoming increasingly present. Intriguingly, that camp of 90’s acts (the one that bands like Superchunk and Archers of Loaf belonged to) is notoriously difficult to recreate in intriguing ways. Many of the bands that have released records through Exploding in Sound are a part of that current crop of bands who look to that era for influence and it wouldn’t come as a surprise if Spook the Herd joined that list. “Freaks” and “Fermented” are both first-rate examples of revivalism done right.

18. LVL UP – Dark Sided Stuff

Anyone whose been following this site at all for the past few months has likely seen LVL UP come up a few times. Dark Sided Stuff, their most recent release, is a compilation of the demos that would go on to become Hoodwink’d (this sites pick for Album of the Year)  and a few other recordings that were cut during that time. Unsurprisingly, the end result is a brilliant mess that strips the band back to their rawest state, allowing for a further understanding of their process. Enigmatic and charismatic in equal measure, it’s a release well worth anyone’s investment.

19. The Juliana Hatfield Three – Whatever, My Love

The Juliana Hatfield Three may not have sparked as much attention as Sleater-Kinney did when they made an unexpected return to music but Whatever, My Love does occupy a similar space to No Cities to Love. Both are examples of a band making a return to form without much warning, after a long time away, and both include some of the best material of each band’s career. A lot of bands that garner a lot of attention here (All Dogs, Radiator Hospital, etc.) have listed The Juliana Hatfield Three as a major influence and those connections, fascinatingly, have never been more crystallized than they are with Whatever, My Love. Don’t let this one fall to the wayside.

20. Chastity Belt – Time to Go Home

The name Chastity Belt’s another one that’s been kicked around here for a while, thanks mostly to their excellent 2013 LP, No Regerts. Even with as good as that record was, it proved to be impossible to predict just how incredible Time to Go Home would turn out. Chastity Belt have enhanced their identity with their boldest and most fully-realized work to date. Rarely eclipsing mid-tempo, the band allows themselves to settle into comfortably meticulous grooves with a confidence that’s self-assured enough to put a lot of other bands (bands who have been around much, much longer) to absolute shame.

Listen to Time To Go Home over at NPR’s First Listen.

21. Leggy – Nice Try

Grrrls Like Us” provided a fitting end-cap to Leggy’s first major year as a band. They’d previously released the commendably great Cavity Castle EP, which wound up being quite a few people’s favorite EP of 2014. Now, the band’s hell-bent on capitalizing on that momentum and they’re doing it in enthralling fashion. Nice Try, an EP the band released last month, isn’t just the strongest work of their young career- it’s a gigantic leap forward for their songwriting. Never anything less than full-throttle, Nice Try is an invigorating reminder that this band’s not going anyway anytime soon.

22. Matthew E. White – Fresh Blood

Matthew E. White’s Big Inner was one of 2012’s most fascinating- and unique- folk-pop records. Full of wayward experimentalism and intricate arrangements, it showcased White as someone who possessed an original voice. Three years later, he’s unleashed his follow-up: Fresh Blood. While the music’s scaled a back quite a bit in terms of arrangements, the songs here are more immediate, direct, and accessible. By indulging in greater restraint White may have also wound up with something more lasting. Adamantly defiant of easy genre categorization, Fresh Blood makes its mark and leaves an endearing scar that refuses to fade.

23. Mount Eerie – Sauna

Phil Elverum has gone through many phases, shape-shifting at his leisure into whatever suits his mind at the time. One of his most celebrated ongoing projects, Mount Eerie, returned this year with the brilliant Sauna, which offers up an enveloping ambient sprawl. Gently immersive in some spots and dangerously raw in others, it’s one of Elverum’s most compelling tapestries to date.

24. Yowler – The Offer

The Offer‘s devastating title track is one of the only standalone songs to have earned a write-up on this site so far this year. The reason? It’s not just one of the best songs of this year (so far), it’s one of the finest of the decade. “The Offer” is also, appropriately, the most representative song on Maryn Jones’ solo debut (using the Yowler moniker, at least). Cautious, frightened, anxious, and defiant, The Offer is a gut-punch of a record that occasionally nears uncomfortably voyeuristic levels. The Offer is the perfect soundtrack for sleepless nights spent in near-silence, when the only other audible sound is the rain coming down.

25. Spectres – Dying

Rounding out this run of records is, somewhat incredibly, another shoegaze-leaning record that never diminished its brute force. Dipping into the decidedly darker realms of post-punk, Spectres managed to create a behemoth of an LP with the boldly-titled Dying. Opening with a genuinely intimidating noise collage, the band sinks its claws in and proceeds to tear away in the most feral manner possible, continuously refusing to relinquish its grasp. At points, Dying approaches black metal but never loses sight of its overall melodic sensibility. By taking stormier roads, Spectres have managed to start the year off in an impossibly blinding fashion. Listen to the sounds of Dying below.

Watch This: Vol. 49

To start: this won’t be today’s last post. This will be this week’s Watch This, though, as next Sunday’s going to be devoted to work for an upcoming feature. Additionally, last week brought forth an embarrassment of riches and one Watch This just wasn’t enough to cover everything. All of that is to say that this will be another non-conventional installment that will offer a small break from the regularly scheduled every-Sunday appearance of this series. In the 49th installment, the performances take place in everything from small shops to late night talk shows and festival aftershows. Every performance is committed and provides some insight into the level of dedication these bands put into their live set. It’s all worth taking a few beats to take in- so, as always- sit back, focus in, turn the volume up, take a deep breath, and Watch This.

1. Ty Segall – Manipulator (KCRW)

It’s strange to see the Ty Segall Band playing in an environment this contained- and it’s evident the band’s doing their best not to jump out of their skin while they tear through the title track off this year’s excellent Manipulator. Even if the band can’t exercise their usual being-shocked-to-death style movements as freely as they’d be able to without the restraints of their headphones, this is still one hell of a performance- and a great reminder to see them as many times as possible.

2. Mountain Bike – Good for Nothing (Bruxelles Ma Belle)

As what will likely be an introduction to Mountain Bike for many, it’d be impossible to ask for something more artfully executed than their recent session for Bruxelles Ma Belle. Shot in a small store, the band delivers a performance of the excellent “Good for Nothing” with an infectious amount of verve. Gorgeously lensed and perfectly executed, it’s enough to suggest that Mountain Bike are just getting started.

3. Posse – Shut Up (Pitchfork)

Any time a band shares the stage with METZ (whose performance at this show was featured in yesterday’s Watch This), it’s going to be difficult for that band to hold their own. That Posse manages to do so while playing a much more downtrodden, folk-influenced variant of post-punk is a feat that can’t be overlooked. “Shut Up” is an arresting performance of hypnotic proportions and, by being just that, easily secured Posse an entry in this volume.

4. The So So Glos – Diss Town (Last Call With Carson Daly)

How the hell does Blowout keep sounding better? The So So Glos‘ breakthrough effort from last year was full of a joyous strain of music that perfectly married basement punk with basement pop and having neither influence outshadow the other. Live, the band manages to up the already considerable levels of energy, turning their shows into mass singalongs that border the cathartic (which is why this band has been showing up in this series since the very first installment). Everyone’s in on it together, the band, the audience, and the people the band brings in- like the trumpet player and the person in the wings who looks like he’s having the time of his life less than a minute into this no-brakes performance of “Diss Town”. Don’t be the only one left out of the party- everyone’s always invited.

[Due to some temporary embed issues this video can only be seen here.]

5. Mount Eerie – Emptiness (Pinball Sessions)

P.W. Elverum has been making breathtaking music for several years now, under a variety of different guises. Mount Eerie has always been the one that’s stood out, thanks in part to Elverum’s fearlessness in regards to form and expectations. From relentlessly heavy sections that threaten to take post-rock into the realms of doned-out doom to the blissfully melancholic, it’s anything but predictable. Seeing Elverum strip away all of the ambient soundscapes to deliver a solo piano performance is an arresting experience for a myriad of reasons, each pointing to one simple fact: this is an artistic voice that still warrants our full attention.