A lot of outside forces — from tour scheduling to a forthcoming move — necessitated a brief hiatus for this site. Heartbreaking Bravery remains a one-person operation (albeit, one supported by a generous community of like-minded people) so it can be difficult to keep pace when life gets hectic. That being said, it’s a project that’s always receiving attention, even if it’s radio silent for a stretch of time.
To that end, today will largely be focused on honorable mentions lists and a few abbreviated best-of’s for the material that was released during this most recent interim. A few releases will also get there own feature, like the item kicking today’s coverage off: Cende‘s outstanding #1 Hit Single which ranks among 2017’s finest offerings and stands as an exhilarating new chapter for one of today’s smartest basement pop bands.
Having already claimed this site’s Best EP of 2015 distinction, the anticipation for their full-length debut was considerably high. Propelling that anticipation to stratospheric heights by way of lead-off singles “Bed” and “What I Want“, had #1 Hit Single been anything short of masterful, it would’ve been a crushing disappointment. Of course, with the combined track record of the band’s members, that outcome was always far less likely than the inevitable: #1 Hit Single is a genuinely exceptional record.
Virtually everything on this record has been given an extreme amount of care and attention, the meticulous observation and clinical understanding of composition on every level elevates the record from simply being great to being a surprisingly understated genre classic. By taking their punk-leaning energy and suffusing it with classical underpinnings and some notably DIY leanings, Cende’s landed on something that feels fresh, familiar, and entirely their own.
“What I Want” standing as the perfect example of how the band’s marriage of punk, powerpop, hardcore, bedroom pop, and a variety of other sub-genres can not only exist harmoniously but congeal into a spellbinding whole. While that song’s unusually soft nature comes as somewhat of a curveball, the ensuing track puts the band back on an aggressive path that’s more attuned to their surprisingly vicious live show.
The back half of #1 Hit Single reaffirms everything laid out by its predecessor, encapsulating the band’s mastery over their craft and identity to an unavoidable degree. From the quiet insistence of “Void” — one of the strongest tracks on a record comprised of nothing but highlights — to the subdued melancholia of “While I’m Alive”, there’s not a false moment to be found. It’s a beautiful cap to a painfully honest and surprisingly poignant record about insecurity, uncertainty, and hanging onto shreds of optimism and resilience. Put simply: #1 Hit Record is the type of record you hold onto long enough to pass down to the next generation, hoping they do the same.
Listen to #1 Hit Single below and pick it up from Double Double Whammy here.
In under 100 seconds, Cende manages to make yet another strong impression, this time emphasizing their more punk influences rather than scaling them back. It’s an effect that goes a long way in creating both energy and momentum, leaving “Don’t Want To” feeling surprisingly vital and a little volatile in the process. Guitarist/vocalist Cameron Wisch once again centers the narrative on self-doubt, self-deprecation, and self-awareness, which remains an intensely relatable combination. As sharp as both “Bed” and “What I Want“, “Don’t Want To” all but cements the lingering feeling that #1 Hit Song will wind up among the year’s best records.
Listen to “Don’t Want To” below (and watch the band rip through the song and an as-of-yet unreleased song beneath the initial embed) and pre-order #1 Hit Song from Double Double Whammy here.
Masterfully composed and precisely executed, “What I Want” loses none of its drive but gains a tender sheen thanks to the backing vocals from Frankie Cosmos‘ Greta Kline. Cameron Wisch, Cende’s bandleader and principle songwriter, conjures up an airy atmospheric that Kline fills to perfection. When Kline’s vocals kick in for the first time, it’s a genuinely breathtaking moment, buoyed by a string arrangement that straddles the divide between sweet and melancholic beautifully, perfectly accentuating Kline’s contribution.
Following Kline’s verse is a bridge that demonstrate the band’s sheer talent, veering between power and innovation with ease. Staccato blasts are met with orchestral dissonance and the song transforms from a modest run into a seething behemoth before falling away to silence. It’s final segment, a volume swell that brings “What I Want” roaring back to life for a brief moment, is the final stroke of genius in what firmly stands as one of 2017’s most captivating releases, reaffirming that every second of “What I Want” is worth exploring.
Listen to “What I Want” (and watch the band run through the song at CMJ 2015) below and pre-order #1 Hit Song from Double Double Whammy here.
Back when Cende was just starting out, I was fortunate enough to hear some of the early mixes of what would become the band’s first EP, an astonishing work that still only hinted at the depths of the band’s talents. Comprised of members of Porches, LVL UP, Normal Person, and a whole host of others, the quartet’s built up a staggering pedigree over the years. Now, over three years into starting the project, the band’s finally gearing up for the release of their forthcoming full-length, #1 Hit Song, and have selected “Bed” to lead the charge.
A staple of their live set for several years, “Bed” is a startlingly sharp, concise basement pop triumph. Over several conversations with the various band members, Radioactiviy always came up as a big influence and a similar sense of urgency runs through “Bed”, even while it boasts a surprisingly clean aesthetic (both in terms of instrumentation and production). In terms of lyrics, narratives don’t get much more unapologetic in their self-deprecation than the alternating resolutions of the verses, “You’ll be better off when I’m not around” and “You’ll be better off when I’m all alone,” respectively. It’s a deeply human sentiment that grounds the affair and reveals a few bruises in the process. All in all, “Bed” is a powerful opening salvo for what should prove to be one of the year’s best records.
Listen to “Bed” below (and watch the band performing it in the venue where they started) and pre-order #1 Hit Song from Double Double Whammy here.
A New York institution for some years now, Real Life Buildings’ members have been extremely active in the DIY punk scene and accumulated an impressive pedigree. It’s easy to forget that fact when they play, though, as their music sounds so complete. Here, the project takes to the WKNC studios and delivers an inspired set of slightly askew basement pop. It’s a series of thrilling moments from a band that more than deserves their continuously growing reputation as one of the state’s finest acts.
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2. Yohuna – Apart (Radio K)
In Patientness, the Johanne Swanson-led Yohuna delivered one of the year’s most quietly compelling releases. Operating as a trio for the live shows, Yohuna recently stopped by the Radio K studios and offered up a gripping take on “Apart”, one of the many highlights from Patientness. Calm, collected, and enticing, it’s a perfect example of the project’s innate level of talent.
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3, Porches – Car (KEXP)
When Watch This was in its earliest stages, Porches. would make infrequent appearances that mostly came courtesy of fan-shot footage of solo performances. In that time, the project’s reach has considerably widened, the period at the end of the name’s been all but abandoned, and it’s successfully transitioned into a full band that boasts an incredible cast of musicians. Porches hit a career highlight with “Car” and they recently gifted KEXP with this arresting run through the song. Good luck escaping the vice grip of that miraculous hook.
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4. Julia Jacklin – Pool Party (The Current)
The ascendant Julia Jacklin’s been making quite a splash lately, drawing comparisons to the likes of Sharon Van Etten, Angel Olsen, and Leonard Cohen. Just a few seconds into this gorgeous run through “Pool Party” and it’s abundantly clear that Jacklin’s tapped into that intangible element that can propel talented people to new levels of fame. A beautiful performance of a gorgeous song, it’s hard not to just leave the clip on repeat.
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5. Mitski – Your Best American Girl (Colbert)
Anytime anyone from the DIY circuit starts succeeding on a grander level, it’s a heartening development, especially in the cases of artists that stay true to their convictions. Watching Mitski sit in with Stephen Colbert’s house band and lead them through selections from a discography that’s been well-covered here in the past served as a moment of triumph. The cherry on top? A full, heartfelt rendition of “Your Best American Girl” — one of 2016’s best songs — with the house band urging the song forward. All told, it was a well-earned, inspiring moment from an artist whose work deserves to be celebrated.
Margaret Glaspy‘s had a deeply impressive 2016. The young songwriter released a breakthrough record, continuously boasts one of the better live shows on the market, and has handled the transition into the public eye with the poised confidence of a seasoned veteran. Here, Glaspy gives Colorado Public Radio’s OpenAir a powerful look at that live show, landing a few knockout punches throughout a rousing four-song performance.
No band has been written about or praised more by this site than Tenement, who have been the consummate example of what this site was built around supporting. Through that band’s decade-long existence, bandleader Amos Pitsch has been involved in a number of other projects but something about Dusk feels just a little bit different. The band’s comprised of several of the most impressive musical figures in Wisconsin’s relatively isolated Fox Valley area, whose singular visions act in complementary tandem. Beautiful harmonies, a sense of history, and a tenacious commitment help define the band’s identity. All of those traits are on full display for this gorgeous two-song turn-in for Wisconsin Public Radio’s excellent Set List series.
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3. Green Dreams – Don’t Pray For Me (Katie Krulock)
Ever since the release of 2014’s excellent Rich Man, Poor Man, Green Dreams have been relatively quiet. All of that’s about to change as the band preps a new release, which the band provided a tantalizing glimpse at through the form of this live acoustic video. The typically ferocious project reveals their pensive side on the lilting “Don’t Pray For Me”, while still retaining the overwhelming narrative darkness that’s been so prominent in their past releases. Beautifully lensed and delicately performed, the video’s a powerful reminder of Green Dreams’ numerous gifts.
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4. Bernie & the Wolf (DZ Records)
For more than three years, Bernie & the Wolf have quietly been perfecting a mix of influences and forming a sound that’s not too distant from the best of Saddle Creek’s offerings. Open, sprawling, and teeming with distinctly American influences (and history), their songs are immediately warmly familiar and entirely winsome. DZ Records recently capture the band delivering an impassioned set, keying in on “Ethyl”, “Catch Some”, and “Pretty On Me”, three genuine standouts from what promises to be one of the best releases of its given year.
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5. Bon Iver (SPIN)
Typically, these spots are reserved for unheralded artists, independent-leaning moments, and videos where the performers aren’t hundreds of feet away. It takes a lot to overturn any of those qualifications and overturning all of them is essentially unprecedented. Even though Bon Iver’s Eaux Claires live unveiling of the forthcoming record — something I was fortunate enough to attend — was a genuinely Big Moment that will be exhaustively covered by nearly every serious music publication, the way it was introduced felt intrinsically connected to the foundations of this site.
As a person who’s lived the vast majority of life in a small Wisconsin town, watching someone like Justin Vernon selflessly elevate an enitre artistic community has been heartening. Watching him debut an entire album live, in front of a hushed audience of thousands, at a genre-balanced festival he founded in his own small Wisconsin hometown was actively inspiring. While Vernon’s rollout campaign for Bon Iver’s forthcoming 22, A Million was designed to benefit the projects’s chosen slot, it was also an effort to highlight the other artists (like Tenement and Tickle Torture) who were a part of the Eaux Claires festival.
In that methodology, Vernon’s added another heartfelt notch in his continuing efforts to expand Wisconsin’s woefully underrated music community by any means at his disposal. On top of all of that, though, the actual performance of 22, A Million was an unforgettable event that was enhanced by the location (Bon Iver’s music has always been perfectly suited to Wisconsin’s wilderness) and the weather.
Just before the set began, what had been a steady downpour of rain lasting hours had suddenly stopped and night had fully descended. Throughout the set, there was an eerie calm that was punctuated by the noise of crickets that had taken residence in and outside of the festival grounds, creating an ambient wellspring of noise that further enhanced the glitchy electronics that permeate throughout 22, A Million (they became especially evident during the quietest moments, rounding out those songs in an unforgettable fashion).
While all of the main set can be heard and seen below in a video that SPIN livestreamed from the crowd, the encore set (which isn’t part of the video) provided what may have been the most defining moment of the festival.
Playing a selection of songs that wildly varied from their original versions, the band pulled out a fairly faithful rendition of “Creature Fear” that culminated in an apocalyptic wall of noise outro section. In the lead-up to those breathtaking final moments, a blisteringly intense lightning storm had erupted behind a heavy cloud, providing an unexpected assist that felt entirely in tune with the weekend’s joyous collaborative efforts. In that moment, the audience, the band, the city of Eau Claire, and Wisconsin itself became part of a unified moment that transcended easy category, leaving an indelible mark on Eau Claires, on Eaux Claires, and on everyone who took a moment to take in their surroundings.
Psychopomp, one of this year’s most pleasant surprises, put Japanese Breakfast — a project spearheaded by Little Big League‘s Michelle Zauner — on the map. The record was partially born from a tragedy that Zauner wrote eloquently about in the very first entry for the A Year’s Worth of Memories series. “Jane Cum”, another in a string of impressive videos from the record, continues to perfectly match Japanese Breakfast’s most cinematic sensibilities with House of Nod’s very specific vision, anchored once again by the deft directorial touch of Adam Kolodny.
Kolodny imbues “Jane Cum” with a B-grade slasher flick aesthetic, centering in on a narrative that involves a mysterious coven, ambiguous motivation, and unerring commitment. As always, it’s a beautifully lensed clip, elevating a continuously progressing tension to heights that near the unbearable. Appropriately, the clip never once loses a sense of mystery, even in its ultimate reveal a host of questions remain. All of the actors involved (including photographer Stephanie Griffin and Cadet Kelly’s Gabriela June Tully Claymore) give nuanced performances.
Beautifully paced, undeniably driven, and spectacularly composed, “Jane Cum” manages to easily climb the scope from notable to genuinely memorable. It’s a startling clip full of vivid imagery that owes debts to not just horror sub-genres but to classic film noir as well. At the center of it all is Zauner, injecting the affair with a sense of eerie calm that winds up being the clip’s definitive trait. Deeply compelling from start to finish, it’s a music video that provides a fine example of what can be achieved within the format under the right circumstances (and with the right collaborative partners). Take a deep breath and let its spell take you under.
Watch “Jane Cum” below and pick up Pyschopomp from Yellow K here.
Throughout the course of 2015 I’ve been fortunate enough to attend upwards of 100 shows, festivals big and small, and spend approximately half a year living in a city that hosted a mind-boggling amount of quality shows on a nightly basis. To that end, it’s probably unsurprising that I wound up taking over 10,000 photos this year alone. Over the course of the next few days, this site will be running seven volumes of the shots that stood out as personal favorites, whether that was due to their composition, sentimental attachment, or an intangible emotional or intellectual response. It’s been an honor to be able to take even the smallest part in the ongoing sagas of the artists in the photographs below and an additional thanks is due to the venues that allowed me to shoot (as well as the people who encouraged me to keep shooting).
Throughout the course of 2015 I’ve been fortunate enough to attend upwards of 100 shows, festivals big and small, and spend approximately half a year living in a city that hosted a mind-boggling amount of quality shows on a nightly basis. To that end, it’s probably unsurprising that I wound up taking over 10,000 photos this year alone. Over the course of the next few days, this site will be running seven volumes of the shots that stood out as personal favorites, whether that was due to their composition, sentimental attachment, or an intangible emotional or intellectual response. It’s been an honor to be able to take even the smallest part in the ongoing sagas of the artists in the photographs below and an additional thanks is due to the venues that allowed me to shoot (as well as the people who encouraged me to keep shooting).
More than 100 photos into the pictorial review of this site’s CMJ coverage, this fourth gallery of photos covers the festival’s fifth day. As always, the videos from the fifth day have been compiled here and the official review can be read here. The full gallery has been moved to flickr and can be accessed by following this link.
Heartbreaking Bravery 