Painted Zeros | Heartbreaking Bravery

October 13, 2015

DBTS: BS2 (Compilation Premiere)

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

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

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

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

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

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

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October 3, 2015

Bruising – Emo Friends (Stream)

Three weeks is a long time to go without covering a specific song in a feature section, something that inevitably means grappling with a whole lot of content. Occasionally, some of the heavier decision making is made easy through very particular releases. One such type of release occurs when a young band (especially one who’s already been featured on this site) brings new material into the world. After establishing some level of investment through coverage, it’s exciting to see those acts capitalizing on early momentum.

Bruising are one of those bands and “Emo Friends” is their latest musical adventure. The duo of Naomi Baguley and Ben Lewis continue to complement each other to some sort of perfection. The pull between their twee tendencies and something far more sinister continues to sustain their aesthetic and lend it a surprising amount of propulsive force. Effortlessly light melodies and razor-sharp guitar figures provide the song with a tattered cloth and give “Emo Friends” a palpable sense of place. As the distortion and cleanliness dip in and out, weaving an intricate pattern, the song as a whole barrels forward with little to no regard for easy expectations. It’s another thrilling moment from a band that’s continuing to build something worthy of greeting with genuine excitement.

Listen to “Emo Friends” below and pre-order the single from Beech Coma here. Underneath the embed, explored a handful of other great songs to find release over the past three weeks.

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Winstons – Do My Best
Father John Misty – The Memo
Alex G – Kicker
Painted Zeros – Call Back
Yvette – Calm and Content
Promised Land – Push and Pull (All the Time)
Triathalon – Slip’n
Mount Moriah – Calvander
Coke Weed – New Jive
Boosegumps – Stole Ur Bike
Little Fevers – Apple Tree
Lucern Raze – Happy and Astray
Public Access T.V. – Patti Peru
Babes Are Wolves – Wait
Paul Bergmann (ft. Emily Kokal) – Wishing Song
The Dirty Nil – No Weaknesses
The Radio Dept. – This Repeated Sodomy
The Decemberists – Why Would I Now?
Pony Time – Really Nice Guys
Threading – Candy Girl
Major Murphy – On & Off (National Broadcast TV)
Juliet K – Live With Me
Laura Stevenson – Cocksure
Linear Downfall – The Question
Courtney and the Crushers – Room 309

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September 3, 2015

PWR BTTM – 1994 (Stream, Live Video)

Today, like several previous Thursdays, saw this week’s pace of new releases slowing a little but yielding some of the week’s strongest material. Ditch Club’s self-titled EP and Shannon & the Clams‘ Gone by the Dawn were the only entries in the full streams field but constituted a strong day for the format nonetheless, while PINS‘ film-damaged “Dazed By You” and Girl Band‘s sly “Pears for Lunch” more than assured the music video field was well-represented. There was a fascinating variety of individual songs that made a dent as well, including: Helvetia’s singular “A Dot Running for the Dust“, Painted Zeros‘ dynamic masterclass “Pretty Rig“, Day Wave’s unabashedly lovely “Come Home Now“, Say Lou Lou’s perfectly crafted pop anthem “Hard For A Man“, Roadside Graves’ driving, widescreen “Clouds“, Windhand’s sludgy triumph “Hyperion“, Naytronix’s subtle, nuanced “Back In Time“, and Philosophical Zombie’s towering basement pop number “Garden Grows Regardless“. Of course, there was also the unveiling of today’s featured item: PWR BTTM’s “1994”.

With the release of PWR BTTM’s outstanding Ugly Cherries drawing closer every day, the duo’s making sure to keep everyone invested in the release through what, so far, has been a perfectly-executed rollout campaign. It’s latest flourish, the release of record highlight 1994, manages to showcase every one of the record’s best attributes. While all of the songs to have found a release as a preview have been identified in part by sadness, it’s an element that acts as one of the strongest characteristics of “1994” and created a mood that can’t be shaken- not entirely- even during one of the year’s most bombastic music moments (a dazzling display of fretwork fireworks from Benjamin Hopkins). Even with that prevalent sense of buried personal pain, it’s difficult not to feel at least a little uplifted in the chorus, which plays out like a small victory; a moment of wordless clarity that infuses the proceedings with a liveliness to even the track out into something affirming.

One of the reasons I’ve expressed so much love for PWR BTTM over the past few months is their exceedingly high level of empathy. It’s abundantly clear in both their music and their thoughtful functionality, which acts as one of the band’s most attractive driving mechanics. By being so upfront about being part of a marginalized community and a continuing fight for a greater understanding, the band’s slowly been transformed into something resembling a highly celebrated representative of several of those sects. They’ve become revered for all the right reasons, which is increasingly rare in a culture that perpetuates immediate gratification at a potentially damaging rate.

PWR BTTM’s also a remarkably committed act, not because the context demands them to be but because they have a genuine passion for their craft. At the bottom of this post there’s a video of the band playing “1994”. The performance is typically spectacular (the band’s live show is genuinely inspiring) but doesn’t even slightly betray the fact that Benjamin Hopkins- the guitarist/vocalist for “1994” (the duo sporadically trades off instrumental and vocal responsibilities)- was incredibly sick the night of that show, passing out only shortly after it finished. Those situations and moments are the kind that can go a long way in defining a band but for PWR BTTM it acted as another assurance of how ingrained all of the qualities mentioned in the above paragraphs are into the act’s veins.

Personal perseverance has been one of their most uniting themes and it’s one that comes full circle in “1994”, which is a deceptively calm rallying call that makes a strong case for simply allowing yourself to be alive. Due to the emphatic nature of its reasoning, it easily becomes not only one of Ugly Cherries‘ most memorable moments but stakes a very serious claim as one of the best songs of 2015. Honest, powerful, and strangely reassuring, “1994” may feel like it’s lost in time but its message is timeless. Hang on to it and make sure it’s remembered for years to come. Songs like this one deserve that level of investment- just don’t forget to strive to live along the way.

Listen to “1994” over at NPR and pre-order Ugly Cherries from Father/Daughterand/or Miscreant ahead of its September 18 release. Watch the video of the band performing the song at Shea Stadium below.

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June 28, 2015

Watch This: Vol. 83

While the past week has been, by and large, dedicated to live coverage (a knock-on effect of moving to a city that hosts multiple shows a night), I’ve still been keeping a wayward eye on both the present release cycle of songs, records, and live captures. It’s the latter category that this post, the 83rd installment of a series that celebrates some of the week’s best live footage, will use as its focus. As usual, there were more than five entries to be considered for a final spot and the clips that didn’t make the cut aren’t worth ignoring, either. So, when you’re done with the feature videos, double back and check out some recently posted performances by Advaeta, Izzy True, Painted Zeros, The Tallest Man On Earth, and Gianna Lauren. Until then, sit back, adjust the lighting to your preference, turn the volume up, lean in, and Watch This.

1. Mikal Cronin – Say (WFUV)

Mikal Cronin, now three records into what’s proving to be an astonishing solo career, has a legitimate claim at being one of this generation’s finest pop songwriters. While MCIII didn’t quite reach the heights of perfection that its immediate predecessor managed but it was compromised of several golden moments, nonetheless. One of those moments came in the form of “Say”, which Cronin and has band dive headfirst into here for WFUV, perfectly capturing that fleeting moment of uncertainty before being consumed by the feelings that accompany any notable dive, jump, or other drastic action.

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2. PINS (KEXP)

One of this year’s more intriguing breakout acts, PINS have been making the most out of their newfound attention. They’re delivering at seemingly every opportunity, this KEXP session most certainly included. A jagged band with intriguingly sharp edges, they’ve made no qualms about embracing post-punk’s inherent rawness. In four songs, they manage to fully establish their identity and will more than likely wind up with a few more converts on their hands.

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3. Hop Along (NPR)

At this point, Hop Along‘s on this list more often than not and close to all that can be said about their live show has been said in this column already. Here, they get to experiment with stripping back ever so slightly for NPR’s Tiny Desk Sessions series and the results are predictably stunning. Frances Quinlan’s vocals are given even more emphasis but the music’s intrinsically gentle qualities are also given the opportunity to be maximized, capitalizing on a dynamic that suits the band to quiet perfection. As usual, it’s a performance that’s not worth missing.

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4. Tica Douglas – All Meanness Be Gone (WMUA)

Joey was one of 2015’s most welcome surprises back when it was released (and maintains that position now). In that record’s penultimate track, “All Meanness Be Gone”, nearly every aspect of Joey‘s identity-intensive narrative is spun together in a tapestry that’s as devastating as it is heartening. WMUA recently had Douglas in for a solo acoustic session that included a heartfelt performance of the song, one of the year’s best, which can (and should) be seen below.

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5. No Joy (KEXP)

At this point the heap of bands fighting to distinguish themselves from each other that operate in the middle ground between traditional post-punk and shoegaze is so expansive that it’s nearly impossible. No Joy manage to make it look effortless in a commanding KEXP session that sees them playing songs old and new. Occasionally muddled but never murky, these four songs present No Joy as an unlikely powerhouse who are clearly ready for bigger stages. Heavy, uncompromising, and ultimately exhilarating, it’s both KEXP and No Joy at their absolute finest.

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June 18, 2015

Painted Zeros – Live at Alphaville – 6/17/15 (Pictorial Review, Live Video)

Another night, another absolutely stacked bill of site favorites. Last night, the always-reliable Exploding in Sound presented a smaller show at Alphaville, boasting a strong four-band line-up. Doubting Thomas Cruise Control, Lady Bones, Snoozer, and Painted Zeros (a band that includes a member of a recently-covered act) all played themselves into a sweat, with each seemingly determined to push the venues capacity for volume.

Doubting Thomas Cruise Control played first and their set proved to be a strong introduction to the band’s relatively subdued but occasionally explosive basement pop. With this being an Exploding in Sound presentation, the band’s frenetic songwriting approach was expected and a recurring theme throughout the night. Lady Bones, who have earned a lot of words from this site, responded with an exhilarating (and punishingly loud) set that continued to tip Dying towards a viable status as a year-end candidate.

After all of the smoke had cleared from Lady Bones’ set, Snoozer was up and tearing through everything with a charisma that was almost maniacal. As their set continued at a sprint, the complementary aspects of their pairing with Lady Bones were clearly evidenced in both their musical quirks and affinity for in-the-red volume. Easing the lineup’s sense of tension, they also delivered some deft, well-timed banter.

By the time Painted Zeros took the stage, the small (but appreciative) crowd had noticeably grown in size and they were rewarded with a memorable set from one of Brooklyn’s finest emerging acts. Leaning heavily on last year’s excellent Svalbard (an EP that very neIarly made it into this site’s list of last year’s 14 best and included “Too Drunk”, a song that came similarly close to making its way into the top songs list), the trio delivered their set with the kind of confidence usually found in a band that’s threatening “breakout act” status. If they keep delivering on the level they are, it’s a status they’re bound to achieve sooner than later.

Photos of the show can be seen below and a video (or two) of each band can be found in the player embedded beneath the photographs.

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June 14, 2015

Introducing: Montana and the Marvelles

The past few days I’ve been adjusting to life in Brooklyn with DBTS (an acronym for David Blaine’s the Steakhouse) being kind enough to take me under their wings and ease me into the transition. Being introduced to a culture that I’d already been familiarized with via the magic of the internet and word-of-mouth was a memorable experience and nothing solidified that more than being on hand to witness the first-ever appearance of Brooklyn supergroup Montana and the Marvelles.

After multiple cleaning sweeps and a day of decorating, DBTS was ready to play host to an unofficial wedding ceremony. The bride and groom-to-be, friends of the DBTS tenants, will be officially wed at a small, private ceremony. With that being the case, they decided to throw a party where their friends could celebrate their marriage ahead of the more intimate event. Guests dressed to the nines, alcohol was free-flowing, root beer floats and tacos were at the ready, everyone was all smiles, spirits were high, and fond toasts were given. After all the personal stories had been told and all the noisemakers had been given out, a band took the floor: Montana and the Marvelles.

At the outset of Montana and the Marvelles, the band was uncertain whether or not their intended wedding project would be a one-off; the details were kept secret. Now, one gripping performance into what could be a very fulfilling path, the band’s made a commitment to playing more shows (and have graciously allowed me to offer their official introduction to the world at large).

Made up of members of several high-profile Brooklyn bands, including site favorites like LVL UP, Sharpless, and Painted Zeros (among others), the band’s more than likely to generate some interest. Unsurprisingly- especially with the caliber of talent involved- the band’s live show is stunning. Suave and genuinely finessed, they play as sharp as they look. As for the song selection- at least on this particular night- it’s just about flawless. Ranging from Etta James to Angel Olsen, it provides the band’s deeply charismatic vocalist and central character- Montana Elliot (of Sharpless)- a considerably impressive showcase.

Montana and the Marvelles were in fine form from the very beginning of the first song, catering perfectly to the crowd. As their set progressed, they made sure to include accommodations for their guests of honor; a first dance, a surprise performance that roped the groom into the band, and a few more twists were incorporated. Each new song (or surprise moment) continuously elevated the level of collective exuberance cultivated by the small (but enthusiastic) party. By the time all of the scene-stealing solos had been torn (courtesy of LVL UP‘s Nick Corbo), all of the showstopping vocals had been sung, and a particularly fierce rendition of “Dancing in the Dark” had been played to close out an incredibly spirited set, it was abundantly clear that Montana and the Marvelles had locked into something that transcends the typical wedding band.

Fortunately for all of us, they’re ready to keep going. If you’re in need of a band to play your wedding, bar mitzvah, bat mitzvah, commitment ceremony, prom, or nearly any other formal event, don’t hesitate to send a message their way; it’s already hard to imagine you could find anything better.

Enough small talk and exposition; it’s both an honor and a privilege to present Montana and the Marvelles to the world. Photos and videos of the band can be found below.

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January 7, 2015

14 of ’14: The Best EP’s of 2014

Once again, at the top: “best” is year-end shorthand terminology for “most admired” and used to designate personal taste without attempting to be an objective statement. For the purpose of emphasizing subjectivity, I’ll also be abandoning this site’s normally held restrictions on the use of first person. Now, with that out of the way, on to what matters: 2014 was a monumental year for 7″ and EP releases. A few are certainly interchangeable but I did my best to spread them around as best as possible. Unsurprisingly, the EP list still wound up with a wealth of material that dwarfs the 7″ list in comparison. All 14 of these releases meant a great deal to me throughout 2014 and became parts of my life, collectively fighting their way into my memory and subconscious. As always, there was a murderer’s row of titles that couldn’t make such a small list so an extensive auxiliary list has been provided below the top selections. So, enough with the introductory nonsense, here are the best EP’s of 2014.

14. Attendant – Freaking Out

Jon Rybicki (bassist of Radiator Hospital) branched out to create his own project- Attendant- in 2014. Enlisting the help of his bandmates and friends, Rybicki created something unflaggingly powerful in Freaking Out, the project’s seven song debut EP. Rawer and more barbed than any of the associated counterparts, Freaking Out is an unexpected left hook to the jaw for anyone familiar with the pedigrees involved. It’s an extremely impressive solo outing for Rybicki and another strong reminder of the talents residing in Philadelphia.

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13. Silence Dogood – Master of Puppets, The Rest Is Silence, Sacred and Profane

Silence Dogood are a band I first became aware of after catching a live set that had me completely enthralled. Ever since then, they’re a band I’ve been keeping tabs on for a myriad of reasons. Blown-out lo-fi EP’s fly out of their camp at a startling pace, loaded with cynical poetry that comes across as deceptively apathetic. They’re prone to veering in unexpected directions and delivering sly turns of phrases at the exact right moment. In 2014 they released three masterfully executed EP’s highlighted by Master of Puppets‘ “Chairman of the Bored“. Don’t make the mistake of passing any of them up.

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12. Eugene Quell – A Great Uselessness, Eugene Otto Quell

A name that showed up a few times on this site over the course of 2014 was Eugene Quell, a London-based songwriter who unleashed two of the year’s hardest hitting EP’s. Both Eugene Otto Quell and A Great Uselessness mined an alternative 90’s influence and presented it through Quell’s distinctly unique lens. Neither skimp on fuzz or a well-informed pop sensibility and the cumulative result is stunning. Eight songs in total, each managed to pull me in while unloading an arsenal of blows, each one becoming more appealing than its direct precedent.

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11. Lost Boy ? – Wasted

Canned is a release that’s going to prove divisive for list-makers. Released on cassette by the increasingly great Double Double Whammy, it won’t see an official release in any other format until a little further into 2015. Less confusing is the fact that Wasted, the extraordinary EP that led into Canned‘s tape release, is eligible for this year’s lists (and has- rightfully- already made a few). Laced with bandleader Davey Jones’ biting humor and characteristically spiky songwriting, Wasted is another laudable entry in one of contemporary music’s finest catalogs.

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10. Green Dreams – Rich Man/Poor Man

Ever since my first listen of Rich Man/Poor Man, I’ve had it kicking around in some spot or another on this list (the year-end process is a continuously recurring project for me). Led by Jesse Amesmith’s willfully unrestrained vocal assault, the band dives into some incredibly vicious territory throughout the EP’s four song run. Best of all is the fact that the flipside of the 7″ copy manages to outstrip an absurdly strong A-side, with “Country Mouse” and “Eye Contact” dipping into a ferocious hybrid of hardcore and noise-punk. Easily one of 2014’s most overlooked releases, Rich Man/Poor Man deserved to be just about everywhere.

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9. Kal Marks – Just A Lonely Fart

Was there was a more bleakly arresting EP in 2014 than Kal Marks’ powerful Just A Lonely Fart? If there was, it’s not one I managed to hear. Tackling difficult (and strangely time-sensitive) topics with verve, Kal Marks conjured up a breathtaking career highlight with this release and extended Exploding in Sound’s absurdly continuous winning streak in the process. Every song on Just A Lonely Fart felt deeply personal and suggested that Kal Marks were expanding their identity into something even more raw than what they’d already cultivated with Life Is Murder. All three songs deserved to be considered for “Song of the Year” lists, ensuring Just A Lonely Fart a status as one of 2014’s most extraordinary efforts.

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8. Cyberbully Mom Club – Life Long Bad Mood, Hair Piles, Muck, Milo the Dog Sees Color, Amy Locust Whatever, Outdoor Activities

No one had a more staggering run of EP’s in 2014 than Shari Heck, whose Cyberbully Mom Club project managed to somehow release six equally strong collections. Between Life Long Bad Mood, Hair Piles, Muck, Milo the Dog Sees Color, Amy Locust Whatever, and Outdoor Activities, Heck solidified a position as one of 2014’s strongest emerging voices. Unflinchingly honest and unreasonably catchy, Cyberbully Mom Club’s brand of punk-influenced, folk-leaning songwriting makes a strong first impression and only manages to sink deeper with time. Sentimental and gripping, this is one act worth keeping both eyes on all throughout 2015.

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7. Priests – Bodies and Control and Money and Power

Brash, bold, and fiercely unapologetic, Priests’ Bodies and Control and Money and Power became one of the most celebrated punk releases of recent memory. Katie Alice Greer’s almost feral presence injects this Don Giovanni-stamped EP with enough adrenaline to revive the legally dead. Scrappy and determined, Priests crafted something that managed to bring some subtly bracing humor to some very serious subjects. Wild-eyed and well informed, Bodies and Control and Money and Power was one of 2014’s best statement releases, refusing to back down from any of its well-placed stances. Add a palpable sense of violence to the whole affair and this EP becomes an outright achievement that’s impossible to ignore.

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6. Roomrunner – Separate

One of Baltimore’s more traditionally aggressive bands, Roomrunner, decided to scale things back and introduce a newfound restraint for Separate. Instead of the transition coming off as forced or insincere, the band wound up with a career-best effort (and put another formidable notch in Accidental Guests‘ belt). Like Green Dreams’ Rich Man/Poor Man, Separate managed to find a unique way to burn the bridges between hardcore and noise-punk, throwing in a tantalizingly off-kilter curve that’s somewhat reminiscent of Two Inch Astronaut. Six songs total, Separate never loses sight of its pacing, constantly clawing its way through the minefields of its own design. Explosively memorable, it’s a warning shot from a great band determined to challenge themselves at every turn.

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5. Night School – Heart Beat

A supergroup of sorts, it probably shouldn’t be too surprising that Night School’s Heart Beat wound up being one of 2014’s most towering and immersive listening experiences. Taking the majority of its cues from classic shoegaze and the current post-rock landscape, Heart Beat feels massive in scope. Alternately delicate, haunting, and intimidating, Night School have latched onto something immensely appealing and perfected a peculiar dynamic right out of the gate. One of the year’s most pleasant surprises, it was mostly relegated to lingering in the shadows, providing it an oddly fitting home.

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4. It Must Be Love – It Must Be Love

One of 2014’s best-kept secrets was this unbelievably great self-titled EP from It Must Be Love, which came across as effortlessly powerful. Unpredictable, strangely graceful, unrelentingly intense, and undeniably gripping, It Must Be Love is the kind of EP most bands can only dream of making. Dynamic, challenging, and- most importantly- ridiculously fun, It Must Be Love have created something that rewards investment and inspires creativity. A complete anomaly among the other titles on this list thanks to its willingness to fearlessly embrace weird experimentalism, the band’s already begun carving out- and perfecting- its own niche. Pavement’s influence echoes throughout It Must Be Love (never more strongly than on the excellent “Mariana) but this territory is all It Must Be Love’s own. Join up or miss out on one hell of a party.

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3. Speedy Ortiz – Real Hair

Speedy Ortiz’s “Doomsday” was good enough to land them on the best songs and best splits lists but that wasn’t the only reason that 2014 practically belong to them; Real Hair, the band’s most recent EP, nodded towards a growing confidence that paid sizable dividends. Real Hair‘s also a big reason for why Speedy Ortiz appeared on this site so frequently throughout 2014, as it existed in a very exact space containing enormous coverage appeal. “American Horror”, “Oxygal”, “Everything Bigger”, and “Shine Theory” all would have ranked as individual highlights in respect to the band’s already impressive discography, cementing Real Hair as one of the year’s best releases- and as a bracing reminder that Speedy Ortiz are far from done.

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2. Girlpool – Girlpool

In 2014’s last quarter, Girlpool (a young duo made up of Cleo Tucker and Harmony Tividad) became an increasingly large part of my life and subsequently earned a lot of kind words on this site, cracking both the music videos and splits year-end lists in the past week. Originally self-released on their bandcamp in 2014’s first quarter, it was re-released by Wichita in November after Girlpool earned a staggering amount of support and recognition from their surrounding environment. It’s not difficult to understand why everyone rallied behind Girlpool as they’re perfect representatives for an innumerable amount of things that are important to support. Putting aside those politics, it’s still plainly evident that Girlpool is an outstanding release. All anyone needs to do for proof is look to the jaw-dropping 1-2 combination of the absurdly powerful “Plants and Worms” and the nearly antagonistic free association of “Jane”.

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1. Charly Bliss – Soft Serve

No EP became a more deeply ingrained part of my regular routine in 2014 than Charly Bliss’ absurdly strong Soft Serve. Editing sessions, menial tasks, and a seemingly never-ending assortment of functions were soundtracked by this trio of songs for months after I discovered the release (hell, they’re playing in the background now). Since I already covered the exhilaration of “Love Me” in yesterday’s best songs of 2014 post, I’ll be focusing on the ensuing tracks: “Urge to Purge” and “Strings”. “Urge to Purge” nearly dethroned “Love Me” for the position in yesterday’s list because it’s every bit as fiery, every bit as dynamic, and every bit as memorable as Soft Serve‘s incendiary opener. With another heart-stopping vocal turn from Eva Hendricks leading the band’s hyper-charged sugar rush, it’s provided a gripping counterbalance by a compellingly understated vocal turn from guitarist/vocalist Spencer Fox. “Strings” flips the script and allows Fox to showcase his casual charisma as a vocalist, joined by Hendricks’ equally impressive layered backing vocals before too long. It’s a song that proves its worth as it goes, settling in with an explosive back half that seems to suggest Charly Bliss have fireworks to spare. All three songs wield a subtle 50’s pop influence that’s brought into a modern- and borderline post-modern- setting. As a whole, Soft Serve is impossibly easy to love (even the album art’s easily among the year’s best) and demands to be heard. Give into its charms and walk away with an EP worth treasuring.

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November 13, 2014

Band Practice – Bartending At Silent Barn (Stream)

The past few days have been incredibly kind for new releases. So much so that it seems criminal to attempt to contain them all in one post, which is why there will be several appearing throughout the night, each containing a few links to other very worthy items. For this round, that includes a scrappy lo-fi video from Bully for their wonderful “Brainfreeze“, Painted Zeros‘ cameo-heavy clip for their outstanding slacker pop anthem “Too Drunk to Function“, King of Cats‘ newest brilliant lo-fi basement pop outing “Ulcers” (which also features Joanna Gruesome’s Owen Williams behind the kit), and Illusion– a relentlessly spiky post-punk EP from Honduras. While, again, all of those were incredible releases, there was an inherent magic contained in Band Practice‘s slow-building indie pop triumph “Bartending At Silent Barn”.

Spearheaded by Miscreant Records mastermind Jeanette Wall, Band Practice takes Wall’s wealth of hard-won history and sculpts it into arresting presentations-with “Bartending At Silent Barn” being the finest to date. Starting off with nothing but a clean palm-muted guitar, a mid-tempo gait, and Wall’s narration of a rough show at the Brooklyn DIY staple, it slowly delves into inner thoughts and outward apologies as the show continues, always brought back by the refrain “sorry, here’s your beer; sorry i got weird”, making it painfully relatable for just about anyone who’s ever served drinks. It’s that keen eye on a semi-uncomfortable reality that transforms “Bartending At Silent Barn” into an oddly moving experience even before it blooms from a plaintive atmosphere into a towering- and obscenely gorgeous- falsetto-laden indie pop number at the close. Even better: that change is brought about by an inverted refrain- “you say, you say, keep the change” slowly progresses into “you say, you say, things will change”. That those words are brought to vivid life by the music itself is a warm final reassurance; Wall’s an extremely talented songwriter, Band Practice is worth a lot of excitement, and Make Nice– the release “Bartending At Silent Barn” is taken from- is a record that deserves an extraordinarily high level of anticipation.

Listen to “Bartending At Silent Barn” below and keep an eye on this site for updates on Make Nice.

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Tag: Painted Zeros