Heartbreaking Bravery

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Tag: punk-folk

Nano Kino – Eyes Before Words (Music Video)

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Since the majority of the start of this week was spent on the road, it’s been difficult to be as vigilant about keeping up with the new music and videos that have been coming out. Today, that changed and the amount of great content is almost overwhelming. Every single one of the items that are going to be hyperlinked following this sentence are worthy of being the feature item. Those include full album streams from Mumblr and Sleepyhead (their first in 15 years), and a stream of Parquet Courts and Future Punx’s split 7″. There were excellent music videos from Death From Above 1979, Lace Curtains, and Brick Mower. Most of all, though, there were great new songs. Cut Teeth offered up a post-hardcore ripper, Ovlov provided a tantalizing glimpse at their upcoming 4-way split with Ex-Breathers, Woozy, and Gnarwhal. There was a smoky piece of folk-psych from Mail the Horse, a new Pity Sex song that ranks among the best of the year and teases an upcoming split with Adventures (it’s also their career-best), a new look at an upcoming EP from the increasingly popular Girlpool, a fiery Stereolab cover from Greys, another indicator that Dark Blue’s Pure Reality will be one of the year’s best records, another gentle piece of bliss from Eternal Summers, a snappy piece of riff-happy outsider pop from Little Big League that- like the Pity Sex song from just a few hyperlinks ago- ranks among the year’s best, another incendiary look at Meatbodies’ upcoming record on In the Red, and a brand-new career highlight for King Tuff. That’s one hell of a haul.

All of those are likely to get features elsewhere- if they haven’t already had them (and most have)- and Heartbreaking Bravery would be nothing if it wasn’t for the bands that are flying under the radar. Those are the kind of bands that this place strives to support- and Nano Kino (which translates to “very small cinema”) is one of them. And while the duo does include Duncan Lloyd of Maximo Park (and Decade in Exile), their profile’s currently surprisingly contained- which isn’t likely to last too long. There are chilly atmospheres that permeate throughout the duo’s music, using no-wave and post-punk as their major touchpoints while exuding an icy demeanor not too far removed from The xx. A lot of the band’s intrigue gets an extra push thanks to the mysterious vocal performances of Sarah Surl, the duo’s other member. While there’s still a considerable sense of mystery to be found in the textured guitar work that Lloyd provides, Surl gives it a strange sense of humanism that allows Nano Kino to eclipse so many similarly-minded acts.

Nano Kino currently have plans to release their debut record in the early parts of next year but have promised to tease pieces of the record in the lead-up campaign. One of the first pieces they’ve offered up is a visually stunning black-and-white clip that emphasizes the band’s penchant for noir-ish sensibilities. Bringing in other visual aesthetics to the fold (there’s a prominent French new wave influence running throughout this- as well as a lot of glances towards Spain’s golden-era of silent film), “Eyes Before Words” winds up being a quietly intense experience. Using grainy superimposed imagery (that’s occasionally stripped back to isolation) to maximum effect helps make this a video that stays with the viewer long after the final whispers of the fade-out. It’s unrelentingly poised and announces Nano Kino as a band that’s embraced a very particular vision- one that could wind up meriting critical and commercial success. Whatever the future does hold for Nano Kino, it’ll be a pleasure watching them fight their way forward- especially if the ensuing releases all manage to be as arresting as “Eyes Before Words”.

Watch “Eyes Before Words” below and keep an eye on this site for updates in the coming months.

Attendant – Freaking Out (Review, Stream)

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By now, everyone who has iTunes should have heard the full stream they’re offering up of Death From Above 1979’s revitalized post-reunion effort, The Physical World. Hopefully, there were a few among that crowd who also found time to stream Nervous Like Me the fantastic new record from Cayetana. Great full album streams weren’t the only things to come out of the last few days, though, in addition to a memorable Pavement cover from PAWS, there were also great new songs from Purling Hiss, Nude Beach, and WULFS. Visually, there was an endearing The Adventures of Pete and Pete homage from Diarrhea Planet and two arresting black-and-white clips that came courtesy of Girl Band and Philadelphia’s Queen Jesus.  It’s another act from Philadelphia that made the strongest impression and earned the feature spot today, though: the the stunning debut effort of Radiator Hospital bassist Jon Rybicki’s collaborative project, Attendant.

It’s not uncommon to note that there’s an absurd amount of great music out there that’s overlooked for any number of reasons but it’s always nice to know that sometimes everything lines up and music that may have otherwise gone unnoticed gets an extra push thanks to the people involved. This especially stands true for Attendant’s Freaking Out which features contributions from a murderer’s row of Philadelphia/NYC-based musicians. Mikey Cantor, Radiator Hospital, and Swearin’ (among others) all get a good bit of representation here, lending their considerable talents to one hell of a debut, helping raise an emerging musician’s profile in the process. Rybicki grounds all of these songs with no shortage of gravitas and conviction, mining similar influences to the ones that are so clearly evident in his friends’ projects.

While all of that would likely have proven more than enough to get Freaking Out by, what really puts it over the top is its attention to detail. The production, sequencing, and mastering on this is near-flawless, advancing the release’s personality without being distracting. In terms of composition, it’s frequently thrilling, with songs like the hard-charging “Saturday” providing bursts of near-uncontrollable energy. With all of this taken into account, it’s probably not too surprising that one of Freaking Out‘s closest relatives seems to be Dinosaur Jr.’s classic Bug. Acoustic guitars often provide a base template for each of these seven songs, while shoegaze-leaning levels of reverb and distortion get added to create a sound that’s becoming increasingly prominent in DIY punk circles- one that recognizes the value of looking to the past to push ahead.

That retro-influenced modernity goes a long way in informing Freaking Out, which makes no qualms about utilizing everything at it’s disposal. Every song on here contains at least a few moments of genuine brilliance, whether in the form of lyrics (“I just wanted to be the other people on the bus” is one of the most haunting lines to come out of 2014) or in the song’s structures or compositions. As if all that weren’t enough, it’s varied enough to ensure the listener’s attention and compelling enough to warrant their investment. None of these songs ever eclipse the three minute mark, either, rendering it even more accessible.Yet, despite it’s short run-time, Freaking Out feels like a fully-formed work from a veteran songwriter.

More than a few critics have said that to really gauge an album’s strengths, there should be an extra amount of consideration given to their mid-section. It’s easy to make strong opening and closing cases but it can be difficult to maintain that consistency across a wider spread. In this respect, Freaking Out has virtually no issues. “Dishwasher”, “Call Me Back”, and “Solar Shack” are all mixtape-worthy entries, each holding their own strengths in Rybicki’s frequently mid-tempo world weariness. Even with that taken into consideration, it’d be difficult not to note that a few of Freaking Out‘s best moments do come in the final two songs. From the trumpet-assisted downstroke onslaught of “I Won’t Try to Change Your Mind” to the guest-heavy celebration that is the record’s finale.

In that respect, “Wax Pages” does feel like an appropriate end-cap to a release that seemed determined to extol the virtues of healthy collaboration. Jeff Bolt (of Swearin’ and Radiator Hospital) takes over on drums, Sam Cook-Parrott (Radiator Hospital), Cynthia Schemmer (also of Radiator Hospital), and Kyle Gilbride (of Swearin’) all handle backing vocals, while Mikey Cantor takes a solo and all of them seem maniacally driven by Rybicki, who lent his vocals, guitar work, and bass (in spots) to the songs he wrote. To that end, it almost feels celebratory despite it’s heaviness (and make no mistake, this is a relatively heavy record in both terms of sound and subject matter). Packaged all together, the end result is something that feels oddly alive and utterly unique, even with an army of recognizable influences worn proudly on its sleeve. If it doesn’t find a home on one label or another, it’ll come as a shock. Freaking Out is one of 2014’s best surprises.

Stream Freaking Out below and download it on Attendant’s bandcamp.