Heartbreaking Bravery

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Tag: records

The Best Records of November 2018

November had a lot of records competing for attention, covering the various different ends of the spectrum. This post is a look back at some of that month’s best offerings, which seems like a worthy venture even with a new year only a few days out. Whether they were compilations or collections of entirely new material, these are records worth hearing. From local artists to retrospectives from genre legends, there’s a lot to digest. As always, each and every one of these titles are titles worth owning. Dive in below.

1. Wooing – The Clouds

A band that’s making some noticeable moves over the back half of the year finally got a chance to truly show off and seized the opportunity with a stylish fervor. Wooing‘s The Clouds is one of the best post-punk-meets-basement-pop 7″ releases of the year. Both sides come laced with a sense of nervous tension that’s embedded into the band’s icy atmospheric sensibility. Quietly thrilling and uniquely enthralling, The Clouds marks a true arrival for a band that’s living up to their potential.

2. The Weasel, Marten Fisher – Real Deal Therapeutic Bullshit

Over the past decade, Colin Bares has released an astonishing wealth of incredible songs through various projects. Good Grief, The Coral Riffs, Mr. Martin & The Sensitive Guys, The Cost of Living, and The Weasel, Marten Fisher have all earned coverage from this site, each tethered in some way to Bares’ unique songwriting sensibilities. Real Deal Therapeutic Bullshit is a compilation of tracks that have been uploaded to soundcloud over the past two years (with a few extra thrown in for good measure) and ably demonstrate Bares’ uncanny ability to acutely plumb the depths of what it is to be human. Whether it’s the melody, composition, lyrics, or vocal delivery, this is music that stays with anyone who has the fortune of listening and definitively stakes a case for Bares as one of the best songwriters operating today.

3. The Marked Men – On the Other Side

There’s a case to be made for The Marked Men as the golden standard for the basement pop genre and that case would only be strengthened by On the Other Side, a compilation of odds and ends that span the band’s career. Even the quartet’s outtakes would put most of the bands molded in their shape to shame. A raucous, jittery, adrenaline-fueled burst of energy, On the Other Side isn’t just a reminder of band’s strength but a statement; The Marked Men’s legacy isn’t going anywhere anytime soon.

4. Fog Lake – carousel

Shortly after releasing one of this year’s best records, Fog Lake returned with the carousel EP. A fascinating curio that flaunts an incredibly unexpected but entirely welcome ’50s pop influence. As is the case with the best Fog Lake works, carousel is playful, compelling, and haunting in equal measure. Where carousel becomes a singular work is in the commitment, presenting a complex vision that operates as if it’s an artifact that’s out of time. Transfixing and lovely, carousel puts a bow on a breakout year for a worthy artist.

5. Rick Rude – Verb For Dreaming

Rick Rude are a band that’s never received the recognition for their work that its strength warrants. Even with that being the case, the band’s giving that untapped audience every chance to latch on, having released a great record a year since 2016, each of them topping the last. Verb For Dreaming is the band’s new career high, an 11-song explosion of inventive, knotty basement punk. A tremendous effort from an incredible band.

6. Washer / Bethlehem Steel – Split

Exploding In Sound has been an inspiring source of consistency for many, many years and hasn’t showed any signs of wear. A split release between two of the roster’s finest acts, Washer and Bethlehem Steel only reinforces the label’s status. Washer‘s “Super Pop” kicks things off and rank’s among the duo’s best tracks, while Bethlehem Steel contributes a powerhouse from their end with “Fake Sweater”. Each band takes a turn covering each other, making this an indispensable capsule for any fan of the label or either band.

7. The Magic Lantern – To The Islands

Last year, “Holding Hands” provided one of the most breathtaking listening experiences of that time. Devastatingly tender and abundantly warm, the track served as an introduction-at-large to The Magic Lantern. “Holding Hands” acts as the album opener on the project’s newest record, the beautiful To The Islands. A spellbinding run through memorable melodies and narratives, To The Islands is the fullest realization of Jamie Doe’s artistic vision to date. A sublime work from start to finish, To The Islands is a record that’s easy to take in but impossible to shake.

8. Hutch Harris – Only Water

The Thermals announced their departure earlier this year but it only took the band’s guitarist/vocalist Hutch Harris a few months after the announcement to release a new record as a solo act. Only Water isn’t as brazen or as confrontational as any of The Thermals’ work but does allow Harris to explore from a more overtly introspective angle. Only Water operates at a slower tempo but Harris’ knack for intuitive narrative structures holds strong, making Only Water an essential record for anyone still heartbroken over the departure of Harris’ old flagship act.

9. Ellis – The Fuzz

Ellis has making semi-frequent appearances in this site’s coverage leading up to The Fuzz and now that the record’s finally here, that attention feels justified. A confident, mesmeric presentation of wintry atmospherics, bruising, introspective narratives, and startling dynamic, The Fuzz posits Ellis as a major voice. From dream-pop-tinted opener “The Drain” onward, The Fuzz sees Ellis in a loosely experimental mode that leads to the songwriter’s most memorable work, frequently yielding moments of unassuming brilliance. The Fuzz is a bold statement from an artist that shouldn’t be overlooked.

17 of ’17: The Best Albums of the Year

Looking back on 2017 was an exhausting effort that seemed to uncover a surprising truth: a lot of the year’s best records wound up standing out by a fairly wide margin. Not just because of the strength of their singles but because of the herculean overall efforts of the acts responsible for the year’s standout songs. To that end, the considerable overlap between the selections for Song and Album of the Year — by far the most that’s ever occurred in the four years these lists have been running — isn’t too surprising.

After listening to hundreds upon hundreds of records throughout the span of 2017, what was a little surprising turned out to be the endurance levels of the records being considered for this list. Some that seemed like surefire locks in the first few months of their release faded, while a few that lingered on the perimeter seemed to gain strength with each successive revisit. One thing that can be said for all the records included in this list is that they’re forceful works that have already proven to have attained the kind of longevity that will serve them well going forward.

From site favorites to year-end mainstays to new faces, the 17 records below offer up an interesting variety. Mental health, youth, aging, hope, despair, and togetherness are all dissected. Icy post-punk numbers, deeply personal folk, and outbursts of irrepressible energy stand shoulder-to-shoulder here, representing a microcosm of what many rightfully saw as one of the most challenging years in recent memory. Take a look back at these releases and grab hold, they should serve the future well.

Washer – All Aboard

Every release tied to Washer‘s name so far has been worth the listen but the band took a massive step forward in 2017 to release their first truly great record with All Aboard. Over the years, the duo has managed to perfect a very particular strain of post-punk, honing their minimalist setup into a jet-propelled engine. Overflowing with career highs for the band, this 15 track titan of a record proves the project’s range, versatility, and talent. It’s an essential release that managed to stand out among a very crowded field.

Great Grandpa – Plastic Cough

Great Grandpa‘s first official full-length absolutely explodes from the outset, “Teen Challenge” obliterating any lingering doubts that this band was ready to take on the world. Plastic Cough‘s ensuing nine tracks go on to continuously elevate the bar the band continuously sets for itself, running a stylistic gamut that ranged from hushed and burdened introspection to moments of gnarled violence. It’s an impressive show of force that never runs out of steam.

Petite League – Rips One Into the Night

Lorenzo Cook, the driving creative force behind Petite League, has been toiling away in relative obscurity for the past few years despite a string of formidable releases. In 2017, Petite League didn’t just make their biggest push into larger recognition, the band also made their best record to date in Rips One Into the Night. Clever lyricism, thoughtful arrangements, mid-fi production, and a charismatic presence elevated the project to a greater level of recognition that was long overdue (and still lacking, all things considered). A seamless mixture of bedroom and basement pop, Rips One Into the Night more than proves Petite League can play with the heavy hitters.

Cayetana – New Kind of Normal

For decades, mental health was something that artists seemed more inclined to subvert in their art, presenting it in a sly sideways glance rather than opting for something more direct. Over the past few years, that approach has noticeably shifted and brought to light some of the best works since the turn of the century. Cayetana‘s most recent effort — their career highlight New Kind of Normal — can now proudly join their ranks. As complete of a record as anything that’s come out this decade, it’s a harrowing confrontation with limitation, impulse, and the kind of desire usually left to the shadows. It also boasts the best arrangements of the band’s discography. A triumph.

Young Jesus – Young Jesus

Three full-lengths to their name and Young Jesus still has a perfect record, each three of those wildly different releases landing the continuously-evolving band a spot in the Album of the Year lists. With that kind of pedigree, self-titling a record would seem like a bold gambit to most but Young Jesus seems to suggest that the band’s in full control of its voice, having radically shifted its lineup and moved clear across the country. Poetic, thoughtful, euphoric, and devastating, Young Jesus easily set itself apart in 2017, thanks in no small part to the record’s towering final three songs, which may well have constituted the year’s most ambitious — and memorable — runs of music.

Deep State – Thought Garden

One of the year’s more overlooked records was also one that proved to have an excess of verve. Bristling with feeling, Deep State‘s Thought Garden was a masterclass in how to effectively translate kinetic energy without losing narrative focus. In lashing back at ennui with a concentrated frustration, Deep Thought created one of 2017’s most unexpectedly fiery releases. Brash and necessary, Thought Garden was — and remains — a record worth remembering, especially in larger conversations.

Weaves – Wide Open

Following a breakthrough record that catapults you from “best-kept secret” status to critical darlings is never an easy task but it was one Weaves had no trouble side-stepping with the breezy, playful Wide Open. Drawing influence from some of Americana’s high watermarks, the band melded and warped those traits into something tantalizingly singular, marrying those cues with tempos and structures that owe slightly more to the East than the West. Genre-melting and world-conquering, Wide Open more than proved Weaves to be one of the premier bands of the moment.

Landlines – Landlines

A small, self-released record that more than held its own against records with more fanfare, Landlines‘ self-titled found its plays incrementally increasing after its September debut. Beautifully combining the finest points of post-punk and basement punk into a cohesive whole that owed as much to Pavement as it did to Parquet Courts, Landlines never stopped impressing. One of the most exquisitely crafted records on this list, Landlines comes jam-packed with little delights that ensure each song is differentiated from the next but that the record stands as a complete whole. It’s a remarkable work that richly deserves a much, much larger audience.

Strange Relations – Editorial You

Few things are as thrilling as a band that’s confidently taking the type of measures that will push them to greater heights. Whether that’s expanding their ambition, increasing their levels of fearlessness, openly experimenting with ideas that may seem counter-intuitive, or simply spending more time on their craft, the end product typically winds up being something of note. In the case of Strange Relations‘ Editorial You, which encapsulates each of the tactics listed above, it’s also wildly successful. Editorial You is unmistakably the sound of a promising act finding their voice and confidently surging forward, fully equipped and ready for whatever might lie in wait

Fred Thomas – Changer

The clarity of voice on Fred Thomas‘ Changer is legitimately astounding. Thomas being one of this generation’s best lyricists hasn’t really been that much of a secret for a while but Changer takes those writing gifts to stratospheric highs with meditations on isolation, aging, individuality, and trying to feel alive. Changer doesn’t just survive on cleverness or memorable turns of phrase though, elevating itself through instrumental composition, demonstrating Thomas’ expanding palette in breathtaking fashion. Far and away the songwriter’s most direct work, Changer also stands proudly as an exhilarating career high. Not just the record that boasted 2017’s best book of lyrics but easily one of the year’s finest all-around efforts as well.

Big Thief – Capacity

One of 2016’s most promising breakout acts didn’t take long to issue a follow-up strong enough to eliminate any lingering doubt over their considerable talent. Big Thief‘s Masterpiece was touted by many at the end of 2016 as one of the year’s best, even more publications followed suit with Capacity in 2017. Retaining the grand sweep of their breakout work, Big Thief got a little more exacting with Capacity. Deeply informed by tragedy and difficult circumstance, Capacity plays like more of a rallying cry than a death rattle, the band finding the heart and humanity in every broken shard of their past and clinging to it in the present as a means of knowing there will be hope for the future.

Cloud Nothings – Life Without Sound

Like Young Jesus, Cloud Nothings have registered a placement on the Album of the Year lists with each of their last three full-lengths. Ever since reforming as a full band, Cloud Nothings have been on an absolute tear, pushing their own limitations at every step (having slightly different lineups for each record likely necessitated a certain level of adaptation). Life Without Sound, however, is the first record the band’s made where it feels like they’re drawing from their past for inspiration. Typically, that glance backwards indicates a band running out of ideas but Life Without Sound is subversive and unpredictable enough to suggest that couldn’t be further from the truth for Cloud Nothings. This is a monstrous, career-encapsulating effort from a band that will always refuse to go quietly.

Tica Douglas – Our Lady Star of the Sea, Help and Protect Us

Over the past several years, Tica Douglas has quietly become one of our best songwriters. Joey went a long way in earning Douglas a reputation as a songwriter worth watching and Our Lady Star of the Sea, Help and Protect Us should further strengthen that argument. It’s a gorgeous record full of unsparing self-examinations and hard-won moments of hope and contentment. Each song taken as an individual piece is riveting but packaged together as a whole, the effect toes the line of being overwhelming. A complete listen is an immersive experience, with all of the scars and all of the healing being felt at every step. When all is said and done, Our Lady Star of the Sea, Help and Protect Us stands as a proud testament to both Douglas’ singular vision and resilient character.

Cende – #1 Hit Single

A band that was gone far too soon at least stayed long enough to gift the rest of us with their only proper full-length, #1 Hit Single. Cende — which boasted members of LVL UP and Porches — has been playing most of these songs out for years before this release and found exhilarating ways to do them justice. Whether it was through string arrangements, guest vocalists, or the production sheen, everything clicked and #1 Hit Single became one of the most winsome basement pop records of this decade in the process. Whip-smart composition, note-perfect execution, and attitude to spare ensured that Cende had enough through one EP and one full-length to leave a legacy that mattered.

Palehound – A Place I’ll Always Go 

One of a handful of artists on this list whose releases have gotten incrementally more impressive with each successive release, it’s hard to imagine how Palehound will top what they’ve achieved with A Place I’ll Always Go. Bandleader Ellen Kempner is in fine form throughout the record, delivering career highs across the board when each compositions is broken down (lyrics, guitar riffs, etc.). A Place I’ll Always Go is also massively successful in terms of pace and tonality, helping the record secure a position as the band’s most fully-formed and complete work. As enthralling as it is captivating, A Place I’ll Always Go solidifies and reaffirms Palehound status as an act worthy of our full attention.

Mo Troper – Exposure & Response

One of last year’s Album of the Year selections, Mo Troper returned this year with the startlingly bold Exposure & Response, that sees the songwriter taking enormous strides forward. From the opening cascade of Beach Boys-esque overlapping vocals on both “Rock and Roll Will Change the World” and “Wedding” to the unexpected grandeur of album highlight “Your Brand” to just about every other surprising minuscule detail on Exposure & Response, Troper finds ways to not just surprise but engage.

Everything that made Beloved seem as if it was destined to earn a rabid cult following and be hailed as a lost genre classic is still intact while other facets of Troper’s formidable songwriting talent has been expanded. Exposure & Response resides comfortably at the intersection of classical maneuvering and modernist delivery as Troper anchors the proceedings with trademark bursts of self-deprecating self-awareness. It’s a landmark record from a burgeoning talent that begs to be left on repeat. Somehow, it gets better every time.

Album of the Year:

Charly Bliss – Guppy

A record that’d been lingering in purgatory for nearly three years finally saw the light of day in 2017 as Charly Bliss set out to light the world on fire. Guppy, at every stage of its development, has always been a knockout record. In its first iteration, it was a growling monster full of low-end bite and emphatic force. The band stripped it back a little, polishing the edges and swapping out a few songs to present something more refined while still retaining a certain edge.

The record’s immediate success came as a surprise to virtually no one that had been paying a lick of attention to the band over the past several years. Touring with high-profile bands — whether they were storied bands with rabid fanbases or exciting upstarts — ensured their range of listeners would be wide. Every step the band’s taken over the past 5 years has been savvy, something that was already evidenced with what remains this decade’s best EP, 2014’s Soft Serve.

Still, making smart business decisions can’t generate any sort of impression if the product is subpar. Fortunately, for everyone, Charly Bliss’ insane musical pedigree (all four members have degrees in musical fields) essentially ensures that they’ll be operating at an extraordinarily high level when it comes to actually writing songs. Guppy provides an excess of proof that Charly Bliss — in addition to being masterful at their craft — have held onto an internal fire that’s fueled their music since their modest beginning.

“Percolator” kicks Guppy off with an insane surge of adrenaline, taking the band from 0 to 200 in one quick crescendo, leaving everyone else to catch up to the trail of dust the band leaves in its wake. Memorable song to memorable song, the quartet rips through their winsome brand of bubblegrunge with aplomb. Mixing twee asides with moments of vicious reality, the band creates a 10 course feast that somehow manages to feel both of the moment and timeless all at once.

A record that brings self-loathing, friendship, earnest sincerity, self-empowerment, and the way they all manage to connect into startling focus, Guppy is as much of a success as a narrative as it is in the instrumental arrangement department. The record’s ridiculously powerful — and surprisingly heavy — “Julia” even sees the band flexing its range, proving that they’ve got quite a bit more up their sleeves.

When all the smoke’s cleared and Guppy has disappeared into the ether, the impression it left in the moment never fades and keeps pushing for rediscovery. It’s a record full of hooks that dig in and stay. It’s a record that’s as willing to open scabs as it is to mend wounds. It’s a record that knows how to have several cakes and eat every last one. Finally, it’s a record that stands out as an easy pick for 2017’s Album of the Year.

The Very Best of the Very Rest: The Best Full Streams of 2017’s Final Stretch

Making one last recap run before the year-end lists go up, now that the year has officially expired, this post will serve solely to focus on the most exceptional records to come into focus over 2017’s final stretch. Often, these records get overshadowed precisely because of the competitive spotlit-nature of those year-end lists. More times than not, this batch of records also — much like Oscar season in the realm of film — contain the records labels hold back in hopes they’ll still be fresh in people’s minds while compiling those lists. Ignoring those for smaller releases that come across like distant memories can be harder than most think, which is why the below selections cater to the records that would have earned themselves serious year-end consideration no matter when they were released. So, make sure these are queued up to their opening track and listen to 21 records that don’t just deserved to be played, but remembered.

Mo Troper – Exposure & Response

Weaves – Wide Open

Climax Landers – Climax Landers

Whelpwisher – Notice to Airmen

Even Hand – Phototropic

Radiator Hospital – Play The Songs You Like

Fits – All Belief Is Paradise

Bethlehem Steel – Party Naked Forever

Lithuania – White Reindeer

Coma Cinema – Loss Memory

Goon – Happy Omen

Tosser – Tosser

Upper Wilds – Guitar Module 2017

Dumb Things – Dumb Things

The Miami Dolphins – Water You Waiting For

Pope – True Talent Champion

Holiday Ghosts – Holiday Ghosts

Prom Queen – Doom-Wop

Dharma Dogs – Music for the Terminally Besotted

Mathhaverskan – III

Slaughter Beach, Dog – Birdie

Seven Weeks, Ten Records

Before this week began, it’d been seven weeks since any of this site’s regular coverage had appeared. The first stretch of this week will be dedicated to amending the outstanding material that went uncovered in the interim, while the latter part of the week will feature the present week’s finest offerings. Below are ten standout records to have been released over the long hiatus, from EPs to compilations to full-lengths. There’s a whole host of incredible material shared between these ten records so stop hesitating and just dive straight into this post’s overflowing heart. Enjoy.

Great Grandpa – Plastic Cough 

Expert Eraser“, “Fade“, and “Teen Challenge” all earned feature slots on this site in the lead-up to Plastic Cough‘s release, each one suggesting a seemingly inevitable reality: Great Grandpa throwing their hat into the ring of genuine Album of the Year contenders. The day finally came, Plastic Cough was released, and that inevitability proved to be no joke. Plastic Cough is an absolutely ferocious record, gnashing its teeth at every hairpin turn and gloriously bombastic moment, only pausing to breathe on the gorgeous “Faithful”, a perfectly placed slow-burner that rounds the record out in breathtaking fashion. Plastic Cough is the kind of thrill ride that makes a mark deep enough to last.

Slaughter Beach, Dog – Motorcycle.jpg

Jake Ewald may get the most recognition for his work in Modern Baseball but what the songwriter’s accomplished in Slaughter Beach, Dog is equally — if not even more — compelling. Having already accumulated an incredibly rich and surprisingly expansive sound over the course of a full-length and an EP, Motorcyle.jpg finds Ewald leaning even more confidently into the battered folk trappings that heightened those first two releases. Motorcycle.jpg also skews a little more lo-fi and at times recalls Yankee Bluff, each poignantly bruised track vastly exceeding the aesthetics perceived limitations. It’s another impressive work from a musician worth watching.

Little Star – July Demos

Another one of the acts positioning Good Cheer Records as one of the finest upstart labels, Little Star has managed to turn a lot of heads in recent times, thanks to two sterling full-lengths. The project’s showing no signs of slowing down, even going so far as to release a small collection of demos last month, aptly entitled July Demos. The band’s earned comparisons to legendary acts (Big Star, unsurprisingly, one of the most popular among them) and it’s not difficult to see why those comparisons are being made, even from this small smattering of tracks. All four of the songs on display here are sharply written songs that convey a great deal of emotion in their quiet restraint. Spellbinding work.

Katie Ellen – Cowgirl Blues

Chumped may have been Katie Ellen‘s earliest claim to some modicum of fame but the songwriter’s not being reduced to the ashes left in the wake of that band’s departure, instead opting to venture out on an already promising solo career. Cowgirl Blues is Ellen’s first statement and it’s a bold one. The first two and a half minutes of opening track “Drawing Room” are comprised entirely of extremely light ambient noise, clean guitar, and vocals, as if Ellen is reasserting an individual identity. It’s a deeply effective moment that sets the tone for a record that’s not afraid to show off its bruises, scars, or self-awareness. Front to back, it’s one of the summer’s most captivating listens.

Milked – Death On Mars

Kelly Johnson is the songwriter spearheading Milked, graciously returning to the fold after Geronimo! took their final bow. For anyone who was concerned Johnson would step away from the eccentricities and unpredictable eclecticism that made Geronimo! so fascinating, put aside those fears for good. Death on Mars is as gleefully unwieldy and feral as Geronimo! at their fiercest (undoubtedly helped along by the drumming of Geronimo! bandmate Matt Schwerin). Death On Mars is a towering work that’s not afraid to embrace catharsis or melody even as it careens wildly from song to song, touching on everything from powerpop to hardcore along the way. An absolute triumph of a return.

Midwives – No

No will be the last record Midwives — who appeared in this site’s Best EP’s list in 2013 and 2015 and whose self-titled 7″ was one of the first reviews this site ever ran — will release. While it’s a shame that one of the upper Midwest’s best hardcore bands will be disappearing into the ether, at the very least they managed to go out on top: No is a culmination of everything the group’s accomplished since starting up nearly five years ago. It’s a growling, spitting, snarling beast of a record, unafraid to take prisoners in its sub-18 minute run-time. Bruising and feral, it’s only fitting that such a proudly deranged band would go out kicking, baring its threatening fangs all the while.

Dream Ritual – Summer Promo

Sometimes all it takes for a band to take off is three songs, which is exactly what Dream Ritual‘s offering on Summer Promo, a blistering post-punk EP that doesn’t leave any room for filler. Echoing everyone from Shellac to METZ and everyone in between, Dream Ritual manages to carve out their own distinct identity. “Noise”, “Oil & Canvas”, & “Sunlight Girl” all perfectly marry elements of modern day noise-punk with some of the genre’s earliest defining elements. Whether it’s the metallic-like production or the infusion of pop-leaning melody, it’s clear that Dream Ritual are students of the genre. Thankfully for us, their learning has resulted in one of the summer’s strongest EP’s.

Mike Krol – Mike Krol Is Never Dead: The First Two Records

A few years ago, this site named Mike Krol‘s Turkey one of the best records of 2015 and heavily praised the songwriter’s infectiously joyous live show. Krol had gained notoriety thanks to the cult following that he’d accumulated due to his first two records, Trust Fund and I Hate Jazz, both of which were long out of print by the time Merge announced Krol’s signing and released Turkey. Fortunately, for everyone, Merge has come to the rescue and reissued both of those seminal classics (this according to essentially anyone that owns either) and packaged them with all of the demos for each session. The whole thing’s an exhilarating look at an exhilarating artist and should be considered essential listening for fans of the basement pop genre.

Tunnel Traffic – MEESH

Tunnel Traffic’s MEESH occupies a space that’s always memorable: the record arrived from the artist via unsolicited submission and proceeded to impress at every turn. From opener “Lesson Learned” to the closing “Memorial”, this small release from Adam Hachey’s solo project made a sizable impression. Softer and a little sweeter than expected, MEESH is chock-full of mid-tempo folk-leaning numbers that expand the bedroom pop genre into something faintly unfamiliar. It’s quiet, it’s intimate, it’s unassuming, and it’s utterly spectacular. MEESH weaves an unbreakable trance over its listeners and commands their attention through a narrative journey that feels both direct and cerebral. It’s an incredible accomplishment from a songwriter whose work all but demands to be followed.

Waxahatchee – Out in the Storm (Deluxe Version)

Throughout work with WaxahatcheeP.S. Eliot, Bad Banana, and Great Thunder as well as through a variety of guest roles Katie Crutchfield has become a household name for a very particular sect of people, broadening that base with each successive release. Crutchfield’s latest comes via the Waxahatchee moniker, Out in the Storm. Everything that Waxahatchee has released to date has stood the test of time and remained as impressive — if not more so — as it was at the time of its release. Out in the Storm feels like Crutchfield’s reached another level entirely, combining more than a decade’s worth of knowledge, experience, and style into a mesmerizing, cohesive whole. A career high point for Crutchfield and easily one of the best records of 2017, Out in the Storm‘s definitive version also comes package with the demos for each song on the record, all of which are — like the record itself — well worth hearing.

Girlpool – Plants And Worms (Music Video)

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

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

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

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

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

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

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