Heartbreaking Bravery

stevenmps2@gmail.com | @steven_mps | @hbreakbravery

Tag: SANDY Alex G

The 35 Best Songs of 2018’s First Two Months

Two months and one week into 2018, the year’s already seen a slew of legitimately great songs. Below are 35 that managed to stand just a cut above the bevvy of incoming tracks that populated the most recent post on this site. While a select few picks below have two entries in this list, it’s still a varied list that features a diverse cast of overflowing talent. It should also be noted that a few songs were cut from consideration as the records they belong to will be featured in an upcoming post. At any rate, no matter how the tallies for representation work, this list is a testament to the strength of 2018’s early material. Make sure these aren’t forgotten.

1. Say Sue Me – Old Town

Last year, Say Sue Me put out an intoxicating and winsome record and are already gearing up for the release of a new record. “Old Town”, the strongest single to emerge from the early round of releases for the project’s forthcoming Where We Were Together, acts as a memorable showcase of what made people fall so hard for this band in the first place. Breezy melodies, smart arrangements, and a paradoxical mixture of urgency and relaxation combine once again for one of early 2018’s most charming tracks.

2. Canshaker Pi – Put A Record Out

“Put A Record Out” bristles and grunts out of the gate and gains a head of steam as things move along, embracing the noise/punk flourishes that have come to define the current era’s iteration of post-punk. It’s Canshaker Pi making a willfully gnarled statement and delivering it with enough force to make sure it leaves a sizable imprint. When it’s done, it’s enough to leave a listener breathless. Keep up or get trampled.

3. Jay Som – Hot Bread

The rightful owner of this site’s Best Song of 2016 distinction, Jay Som has been not-so-quietly making waves over the last year. Racking up an endless amount of accolades and new listeners, the tireless Melina Duterte has remained on a tear, releasing new music at a startling rate. “Hot Bread”, released as part of a Valentine’s Day playlist for Amazon, ably demonstrates that Jay Som’s scope will continue to grow with the project’s ambitions, leaving us to count ourselves lucky to be witnesses.

4. (SANDY) Alex G – fay

An enigmatic release from an increasingly subversive artist, “fay” stands as one of the crown jewels of (SANDY) Alex G‘s recent efforts. Posted to the act’s official YouTube account with no type of buildup or press release, the song’s allowed to breathe freely (and gently) on its own terms. Paired with a truly bizarre “about” statement, “fay” acts as a mesmerizing puzzle box full of the kind of sticks-for-weeks hooks that (SANDY) Alex G built a name on, it’s a welcome reminder of a formidable talent.

5. Big Ups – PPP

Big Ups have staked their claim as one of the most fascinating hardcore-leaning acts in recent memory and snarled at anyone who even tried to touch the flag they planted. To remind everyone of how they earned their place, the band ushered out “PPP” as an advance warning to what’ll surely lie in wait on the band’s forthcoming Two Parts Together. Intricate harmonic work, versatile performances, and unhinged bristling combine for another intense triumph.

6. illuminati hotties – (You’re Better) Than Ever

“(You’re Better) Than Ever” will act as an introductory piece to illuminati hotties for a great many and it’s hard to imagine too many people walking away from the band’s warm invitation. A sunny melody shot through with basement pop trappings, “(You’re Better) Than Ever” succeeds on every level, from pristine production to bursts of joyous, unbridled energy. It’s a strong starting step for a band that seems determined to take off sprinting.

7-8. Forth Wanderers – Nevermine + Not For Me

A band on a continuous uptick, Forth Wanderers prove once again why their name carries weight with this two song combo that reasserts their position as one of today’s more tantalizing acts. “Nevermine” and “Not For Me” are both — in what’s become a heartening trend, as it happens with each of their new releases — career high points for the band, who have matured into a confident, focused machine, finding a way to retain an abundance of heart in the process.

9. Hit Bargain – Capitulate

One of a handful of songs on this list that act as a razor-sharp burst of noise-punk, “Capitulate” finds Hit Bargain intentionally wielding a level of ugliness with unbridled aggression. It’s a furious run through genre touch points that takes on life as it barrels headlong into some unknown destination. The band’s expertise is evident and their execution is flawless, rendering “Capitulate” a potent warning of Hit Bargain’s capabilities.

10. Kal Marks – Today I Walked Down To The Tree, Read A Book, And When I Was Done I Went Back Inside

A mainstay of this site’s coverage, Kal Marks has continuously expanded their ambition with each successive release and “Today I Walked Down To The Tree…” keeps that trend in place. A winding, four minute slow-burner, the song finds Kal Marks at their most unabashedly pensive. While Kal Marks still finds moments of catharsis in those minutes, the experience as a whole towers above its individual moments; it’s a breathtaking feat from a band always worth hearing.

11. Stef Chura – Degrees

“Degrees” has been covered more exhaustively than any other individual Stef Chura release thanks to the involvement of Car Seat Headrest‘s Will Toledo.  Hopefully Toledo’s high-profile involvement will be more than enough to turn people onto Chura’s excellent early work. At any rate, “Degrees” — a towering piece of incredibly strong Americana-tinged indie rock — does stand as Chura’s boldest effort to date and effectively heightens the anticipation for what the songwriter’s future holds in store.

12. Juan De Fuca – A Place To Wait

A few seconds is all it takes for Juan De Fuca’s “A Place To Wait” to announce itself with clarity. A post-punk number shot through with nervous jitters, the track seems simplistic at first blush before rewarding a closer look with a tapestry of layers. Delivered with confidence, teeming with feeling, and unafraid to reach for stratospheric heights, “A Place To Wait” became one of 2018’s more pleasant surprises and it’s hard to imagine that status changing.

13. Haley Hendrickx – Untitled God Song

Oom Sha La La” was a song that managed to hook a whole lot of people into Haley Hendrickx‘s world but it also set a dangerously high precedent. “Untitled God Song” went a long way in assuaging any lingering doubts. A slow, tender track, “Untitled God Song” finds Hendrickx establishing a voice, marrying empathy with wariness to great effect. Warm tones and an arresting vocal delivery ensure the song a place as a piece of breathtaking artistry.

14. Superchunk – Erasure

Storied veterans making comebacks that reassert the band’s music as relevant among a new sect of contemporaries isn’t all that common, which is why when it happens it tends to be doubly impressive. That’s exactly the scenario Superchunk has found themselves in since the release of Majesty Shredding and it’s a space they continue to occupy with What A Time To Be Alive, which boasted “Erasure” as a lead-off single. All told: Still energetic, still distinctive, still perfectly Superchunk.

15-16. Frankie Cosmos – Jesse + Being Alive

Over an endless amount of self-releases and some incredibly smart campaigning, Frankie Cosmos have found themselves in an unlikely position of being revered as a bastion of consistency and as a tantalizing emergent act. Greta Kline’s project has navigated the transition from solo project to full band with no shortage of grace and the band, now more than ever, feels complete. Both “Jesse” and “Being Alive” prove the band’s as adept at invention as reinvention, keeping Frankie Cosmos’ unassuming charm intact all the while.

17. Kid Dakota – Keep Coming Back

Few records over the first two months of this year have proved to be as inventive as Kid Dakota‘s Denervation, a collection of kaleidoscopic powerpop that’s highlighted by the inspired 7-minute “Keep Coming Back”. Intricate arrangements, a cavalcade of effective hooks, and a casual assurance congeal into something ridiculously captivating. Whether it’s the snaky snyth riff or the stabs of the guitar-led bridge or the extended outro, “Keep Coming Back” makes sure it offers enough to make a strong case to heed the title’s command.

18. Ed Schrader’s Music Beat – Riddles

Ed Schrader’s Music Beat already boasts a 4+ year history of crafting memorably minimalist post-punk, which made the band’s announcement of a Dan Deacon-produced record as enticing as it was baffling. On Riddles the duo hits new heights by leaping outside of their established narrative to cling onto something unexpected, a move and effect underscored nicely by the record’s piano-driven title track that sees the band falling a lot closer to early Cold Cave than Death From Above 1979.

19. Pale Kids – St. Theresa

Father/Daughter Records has become a proven entity in securing bands that effectively fuse outsize energy with unapologetic sincerity and Pale Kids are no exception. “St. Theresa” stands as proof of the formula, with the quartet leaning into a 2 minute outburst of hyper-melodic basement pop. Pointed, unrestrained, and fueled by as much snark as conviction, “St. Theresa” is yet another welcome shot of adrenaline from the promising quartet.

20. Many Rooms – which is to say, everything

The first moment of genuine tranquility on this list belongs to Many Room‘s gorgeous “which is to say, everything”. Pitched at a hush, the song soothes the nerves as it glides along for its four minutes, never rising past a measured whisper. Informed by both a sense of a loss and a sense of curiosity, “which is to say, everything” positions Many Rooms as an act whose name is worth committing to memory.

21-22. Boys – End of Time + Rabbits

Accentuating dream pop influences in powerpop has served bands like Alvvays incredibly well over the past few years. Boys is another name to add to that list, with the act releasing two beautiful pieces centered around that genre hybrid in “End of Time” and “Rabbits”. “End of Time” showcasing the band’s sense of reservation and “Rabbits” playing to their own curious brand of insistence. Composed and beautifully crafted, they’re worthy additions to any carefree summer night playlist.

23. Courtney Marie Andrews – May Your Kindness Remain

Far and away the most country-leaning track among these 35 selections, Courtney Marie Andrews proves what the genre can still offer when it extends beyond a set of self-imposed limitations. Bringing strains of gospel influence to the forefront, Andrews manages to craft a heartfelt paean to the virtues of kindness. As the organ swells and the choir provides support, the collaborative balance finds itself intrinsically connected to the song’s central message. When it ends, the song does everything in its power to make sure its message is heard.

24. Walter Martin – Me & McAlevey

One of the more unexpected delights in recent music has been the quiet emergence of Walter Martin — best known for his organ playing in The Walkmen — as a singular songwriting force. Last year’s My Kinda Music was an extraordinary (and woefully overlooked) presentation of Martin’s abilities and boasted a handful of gems like “Hey Matt“, a song that gets a lovely sequel in “Me & McAlevey”. It’s another piece of affecting folk shot through with a distinctly modern wit.

25. Liza Anne – Small Talks

In its first minute Liza Anne‘s “Small Talks” manages to be reminiscent of a handful of recent artists and songs, yet it never comes across like an imitation and hits the considerable heights of its predecessors. Exuberant, determined, and delivered with as much urgency as conviction, “Small Talks” manages to sink its hooks in deep. An utterly winsome technicolor burst of warmth and certainty, it’s incredibly endearing- and worth leaving on repeat.

26-27. Trace Mountains – Cary’s Dreams + Turn Twice

While most people are likely to know Dave Benson from LVL UP, the songwriter’s solo project, Trace Mountains, has been releasing equally rewarding material for years (with a handful of instances of those songs becoming breeding grounds for LVL UP reworkings). On “Cary’s Dream” and “Turn Twice”, Benson manages to look to the forward and reach to the past. “Cary’s Dreams” is a testament to Benson’s vision, offering up a reminder of his considerable gifts while “Turn Twice” — first released in demo form several years ago — proves just how effective the multi-instrumentalist is with a bold brand of reinvention.

28. Paul De Jong – You Fucken Sucker

Opening with electro glitches and a hypnotic strumming pattern, Paul De Jong‘s “You Fucken Sucker” quickly changes shape as the lyrics kick in as a soothing voice starts reciting the verses to Mary Had A Little Lamb before things change even more drastically. It’s in the reveal of the chorus where the song separates itself and arrives as something intoxicating in its willingness to beguile. A playful piece shot through with dark humor, “You Fucken Sucker” more than proves that Paul De Jong is still fully capable of thriving outside of The Books.

29. Remember Sports – Up From Below

The return of Remember Sports — formerly just SPORTS — at the onset of 2018 got the year off to a heartening start. “Up From Below” quickly followed that announcement to make it abundantly clear that the band had held onto their sense of tenacity as well as their ability to craft a perfect piece of basement pop. Med-fi, hyper, and ridiculously catchy, “Up From Below” has already set an extremely precedent for what the future might have in store.

30. Fenne Lily. – On Hold

The opening bars of Fenne Lily.’s mesmerizing “On Hold” should be all it takes to secure just about anyone’s interest. Delivered with arresting tenderness, those first moments are strengthened as the song takes shape, exercising a measure of restraint that doubles as unexpected, incredibly cultivated tension. There are no big moments of catharsis but “On Hold” has different goals in mind; every step of the journey is as important as moments of celebration. Spellbinding from start to close, “On Hold” is a well-earned triumph.

31. Vundabar – Tonight I’m Wearing Silk

Over the past few months, Vundabar have found the size of their audience rapidly growing and it’s in large part due to the artistic leap the band’s taken with songs like “Tonight I’m Wearing Silk”. Teeming with memorable riffs, unexpected dynamics, and a butcher’s selection of hooks, “Tonight I’m Wearing Silk” almost comes across like a victory lap. Vundabar have found a way to heighten every single one of their innumerable strengths and the results are already paying off. “Tonight I’m Wearing Silk” is a keepsake for everyone fortunate enough to be following along.

32-33. Bonny Doon – A Lotta Things + I Am Here (I Am Alive)

When Salinas released Bonny Doon‘s sweeping self-titled record last year, it was greeted as the band’s coming out party. A lot of people took notice of the band’s charismatic, including the reliably excellent Woodsist label who quickly found a way to get the band on their roster. With “A Lotta Things” and “I Am Here (I Am Alive)” now both out in the world, it’s plainly evident that Woodsist made another in a history of great decisions, as Bonny Doon have found a way to capitalize on their sprawling punk-informed Americana. Both tracks are new career highs for the band and offer a strong signal that for many, their forthcoming Longwave could just wind up in the discussion for Album of the Year.

34. Half Waif – Torches

All it took was seeing a recent Half Waif set for the band to significantly elevate their position of interest to this site’s overall coverage. While the band’s older material had been touched upon several times in the past, it’s in their new material where they’ve tapped into something that feels genuinely different. “Torches” is a perfect example of that new space, as it presents the most fully-realized version of the band’s identity to date, opening up their synth-led electro-pop into something a touch more experimental and a degree more forceful. Unapologetic in its stance and fearless in its execution, “Torches” marks an exciting new era for a band worthy of a close watch.

35. Mount Eerie – Distortion

The recent decision to list Mount Eerie‘s “Real Death” as 2017’s Song of the Year — let alone, covered at all — was a surprisingly difficult one due to its tragic, uncomfortably intimate narrative. How Phil Elverum’s project has sustained multiple tour runs in support of that record is beyond the comprehension of most observers, who have left those shows visibly shaken. Elverum recently rolled out a sequel to that record, which continues to expand on the sudden death of his wife and his trepidation over how to greet single parenthood in the shadow of the other person responsible for his daughter’s very being.

“Distortion”, an 11-minute tour de force, was one of the first looks at Now Only and remains one of its most awkward, gripping moments. From the devastating opening verse to allegories invoking beat poets, every second of “Distortion” is felt in full as Elverum continues to allow us full access into an unimaginable position. By repeatedly tearing open his wounds, Elverum seems to be searching for a means to heal, cautiously allowing listeners to join the grieving, the fears, the concerns, and the memories of a woman who’s come to define a good portion of his own existence. It’s brutally unforgiving but in its own way, it finds a sliver of beauty in the empathy that it presents. In short: it’s unforgettable.

Cymbals Eat Guitars – 4th of July, Philadelphia (SANDY) (Music Video)

ceg

A lot can surface in two days time, like great new songs from the likes of Mozes and the FirstbornR.L. Kelly, Snail Mail, Extra Medium Pony, Jordaan Mason, Rod, Joseph Coward, BADBADNOTGOOD (ft. Charlotte Wilson), The Saxophones, Alexa Wilding, Carl Broemel, Baby Girl, Amy Blaschke, and The Hell Yeah Babies. Even better when that crop can be rounded out by notable full streams from the camps of Flout, empathPorcelain Raft, Omni, Phantom Posse, and The Rashita Joneses. Best of all is when that entire cumulative haul can be complemented by new music videos from Joanna Gruesome (who very nearly took this feature spot), Alice Bag, and Bent Knee.

As good as all of those above titles are, this post’s focus belongs solely to Cymbals Eat Guitars’ inspired “4th of July, Philadelphia (SANDY)”, a song that immediately and effortlessly carves out a spot as one of this year’s finest. Elevating the song’s absurd individual strength is another in a respected list of clips that find a way to exploit the middle ground between music video and lyric video (a niche approach that was popularized by Bob Dylan’s iconic clip for “Subterranean Homesick Blues“). It’s a devilishly clever reflection of the song’s narrative; the song’s transparently informed by history and the visuals follow suit.

Following Warning, one of this decade’s stronger records (and a high-ranking pick for the Best Albums of 2014), the band unveiled the funk-tinged romp “Wish“, prompting some questions over the directional aim of the band’s forthcoming Pretty Years. In case anyone was concerned that the band had lost their penchant for soaring, aggressive, punk-indebted anthems, “4rh of July, Philadelphia (SANDY)” can definitively put those worries to rest.

From its opening moments, “4th of July, Philadelphia (SANDY)” stakes a claim as the most blown-out, deep-in-the-red track of the band’s impressive career and the severely bruised aesthetic winds up propelling the song to a place of curious transcendence. The band digs their heels in deep for the track, which scans as one of their most personal — and most revealing — to date. Ostensibly about the events that guitarist/vocalist Joe D’Agostino experienced last fourth of July in some great company (including site favorite Alex G, hence the winking parenthetical in the title), the song actually gains momentum through its transparency and frankness.

Not only is “4th of July, Philadelphia (SANDY)” one of the finest narratives D’Agostino’s ever crafted, the band’s rarely sounded this overwhelmingly committed to creating something this vicious. The video embraces the song’s production aesthetic and places D’Agostino in various scenic locations, holding lyric cards and taking in his surroundings as a series of overwashed imagery — which looks like it was shot on actual film — creates a cohesive visual narrative that complements the lyrics nicely.

Literally everything the band throws at this video works on miraculous levels, congealing into an astonishing piece of art that ably demonstrates the depths of the band’s ambition. There’s a very real sense of world-building both in the lyrics and in the clip, which again plays to the seamless marriage of both sides of the spectrum in “4th of July, Philadelphia (SANDY)”. D’Agostino’s lyricism has rarely been as vivid or as sharp as it is here and that’s really the crux of the song as well as its most effective engine. Sludgy, punishing, and boasting the most grit the band’s ever conjured up, Cymbals Eat Guitars go full tilt at everything at their disposal for this one and wind up with a breathtaking career highlight that demands a serious level of consideration as an unlikely classic.

Watch “4th of July, Philadelphia (SANDY)” below and pre-order Pretty Years from Sinderlyn here.