Since this site resumed regular coverage, there’s been a few excellent music-focused documentaries that have earned coverage. Girlpool, Pops Staples, The Epoch, and Butch Walker were the central subjects of all the preceding 2015 docs but tonight’s film brings Screaming Females‘ more recent paths to light. It’s a definitive capture of one of this generation’s most exciting bands as they continue their unlikely ascension. Before focusing all of the attention on the Lance Bangs-directed portrait of the perennial site favorites, it’s worth bringing up a few other great items to have recently surfaced as well. For the full streams, there was 100%’s hauntingly minimalist It gets darkerand, as always, the newest additions to NPR’s vaunted First Listen series (Laura Marling’s Short Movieand JEFF The Brotherhood’s Wasted On The Dream are particularly memorable). Kendrick Lamar’s To Pimp A Butterflywas also just released a week ahead of schedule and it seems set to continue elevating his increasingly impressive career. All of those things are worth spending time getting to know but they’re not what this post’s about- that distinction, as stated, goes to Lance Bangs’ diaristic Screaming Females short.
One thing that Screaming Females brings into sharp focus over its two-part installment is guitarist/vocalist Marissa Paternoster’s battle with an illness that became so severe that it forced the band to cancel an array of tour dates in support of Ugly. Around the mid-point of the documentary, Paternoster is in visible pain when she recalls the events, all the while remaining admirably steadfast in her convictions, never wanting to let anyone down. Paternoster was eventually diagnosed with fibromyalgia in addition to her mononucleosis. Never has their commitment to a DIY ethos been delivered with more clarity than it is in those harrowing minutes. While Screaming Females finds its voice in the opening minutes, with bassist King Mike providing a short, impact-heavy, list for why the band plays as many shows as they do. As the film progress, the band’s natural rapport cuts through the group vignettes like a knife; this is a band that clearly enjoys each other’s company, which is endlessly important. Memories, both painful and entertaining, are recounted, while the future’s left wide open.
In approximately 20 minutes, Lance Bangs (who assembled everything masterfully, with a well-informed eye) manages to place the kind of spotlight on Screaming Females that they deserve, emphasizing the exact traits that cause me to continue to rally behind this band with no reservations. It’s a committed tale of a dedicated band- one who refuses to lose sight of the intangible elements that built their career in its earliest stages. There’s a genuine honesty present in Screaming Females that’s impossible to ignore, providing a crystallized account of how and why the band operates. Determination and passion are present in nearly every frame and, as each new piece of information is given, it’s abundantly clear that this trio of people are hell-bent on continuing to pursue the things they love most with no hesitation. In the end, the documentary doesn’t just wind up being heartfelt but it also succeeds in being legitimately inspirational. We could all learn a thing or two from this kind of passion.
Watch Screaming Females below and order Rose Mountain (the band’s finest work to date) from Don Giovanni here.
While this may not be necessary at this point since it keeps being repeated, it’s worth stating anyway: “best”, in matters of year-end lists, isn’t made to be an objective statement- it’s a reflection of personal taste. For the year-end coverage period, I’ll also be abandoning the usual first person restrictions as another effort to further personalize these accounts and lists. In 2014, I listened to more music than I’ve ever listened to in my life. During that 365-day span, I mercilessly stalked a rotating cast of sites that posted new music on a near-daily basis. I kept up with NPR’s First Listen series, scoured bands’ schedules to see what other bands were on their shows, kept tabs on bills at venues I admired, and listened to every submission that was sent in to Heartbreaking Bravery. If a friend recommended me new music, I made sure it got heard. There were times when some larger fare would pull me in- especially if it was receiving good critical returns- but, for the most part, I made it a point to explore the smaller titles.
A few of the names on this list (and all of the others) may not necessarily be the most recognizable but don’t let the lack of recognition dissuade you from investment; let it actively encourage dividend-paying exploration. It was that decision to zero in on lesser known bands that started opening up endless hallways to music that may have otherwise stayed hidden. That’s the foundation that this site was built in and will always strive to encourage- which is part of the reason why these lists exist. Below are the 14 songs that hit me hardest throughout the past 12 months, rounded out by a top four that all deserve to be in the “Song of the Decade” conversation. I won’t be including an auxiliary list for the songs that were in consideration and didn’t make the cut this time around because, frankly, there are way too many (though I will say it’s still paining me to not be including Ought‘s “Today More Than Any Other Day“) and most of those selections’ respective titles are featured on the other lists that this site will be running (or has already run). Now that all that’s said and done, on to the list!
14. Cloud Nothings – I’m Not Part of Me
“I’m Not Part of Me” has been making a dent in this site’s coverage ever since Cloud Nothings teased Here and Nowhere Else at Baby’s All Right. It’s in the realm of career best for a band who’s on their second destined-to-be-classic release. After the departure of Joe Boyer, it’s unlikely that anyone was expecting the band to grow even fiercer- yet, that’s exactly what they achieved. With melodic aplomb and hooks to spare (in addition to 2014’s finest individual turn-in from drummer Jayson Gerycz), the band responded by annihilating any of the barriers that transition left, with “I’m Not Part of Me” acting as their rousing call to arms.
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13. Iceage – Against the Moon
Before “Against the Moon” was given one of the best music videos of the year, it was lingering on the outskirts of one of 2014’s most powerful albums: Plowing Into The Field Of Love. No song underlined Iceage’s startling transition with more emphasis than this somber piano and organ-driven ballad. Quietly intense and relentlessly haunting, “Against the Moon” became an immediate standout on an impossibly gripping record. It’s an entirely new look for Iceage, who embraced it fearlessly. Elias Bender Rønnenfelt’s lyrics, now laced with a noticeable Southern Gothic Americana influence, acted as the perfect complement to a spare, boldly atmospheric track- which was easily one of the year’s strongest efforts.
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12. Band Practice – Bartending At Silent Barn
Make Nice was one of the last truly great releases of 2014 but no moment on the record was as stunning as “Bartending At Silent Barn“. I’d known of Jeanette Wall through her involvement in Miscreant Records but nothing had prepared me for how effortlessly bracing her own songs could be. “Bartending At Silent Barn” starts out simply enough; clean, palm-muted guitar, a memorable melody, raz0r-sharp lyrics, and an immediately recognizable sense of identity. While it revels in defeatism for close to the entirety of its run, there comes a moment towards the end- a single laugh- that offers a pivotal change. In that laugh (which lasts less than a second), there’s a derision targeting the assumptions that everything’s as bleak as the song’s original narrative suggests but, after a very brief pause, the assuaging declaration that “things can change” comes to a stunning fruition with one of the most life-affirming outro sections I’ve ever heard.
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11. Charly Bliss – Love Me
There are times where all it can take is one song for me to be absolutely convinced by a band. “Love Me”, a song that was also my introduction to Charly Bliss, is definitely that kind of song. With an endless amount of charm and appeal, Charly Bliss conjured up a firestorm of a tune that immediately catapulted them into “new favorite band” territory. The tempo changes and stop/start dynamics in the jaw-dropping pre-chorus and chorus sections practically lay everything on the line; for the first time in a while, it sounds like a (relatively) new band is actively daring their listeners to get on their level. In terms of sound and genre, it’s a perfect bridge between basement pop and basement punk, existing in the dead center of the exact space that this site most frequently celebrates. Fiery, propulsive, and casually tantalizing, it’s easily one of my favorite things to emerge from an incredibly stacked year. Most impressively is that “Urge to Purge“, the song that follows it on the band’s extraordinary Soft Serve EP, was its biggest competition in securing a spot on this list- cementing 2014 as a statement year for one of the most exciting bands today.
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10. Screaming Females – Wishing Well
Screaming Females have earned their fair share of coverage on this site by being so consistently excellent in their craft. They’re a band I’ve been keeping an eye on since I started playing shows in basements (a few of their BFG shows are among my favorite WI-based memories) and they haven’t stopped getting better in the years I’ve been following their progress. All of the years they’ve put into fierce touring (never once losing their DIY ethos) have been leading up to the release of their upcoming Rose Mountain, a surefire contender for 2015 Album of the Year. Currently 3 preview songs into the lead-up phase for the record’s release, none have been as powerful as the first official recording of “Wishing Well”, a perennial staple in their live set. Striking a perfect balance between punk grit and an uncharacteristically light pop sensibility, “Wishing Well” is ample proof of the band’s growing ambition and unwavering confidence. It’s also got a chorus for the ages, one even someone’s grandma could love.
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9. Jawbreaker Reunion – E.M.O.
Lutheran Sisterhood Gun Clubwas one of 2014’s most unexpected surprises; a debut effort loaded with determination and personality. Up until “E.M.O.”, it’s an incredibly strong record but that song single-handedly breaks the floodgates wide open and elevates it to the heights of an unforgettable classic. It’s a song that hit me hard on my first listen and hasn’t left my thoughts- or my esteem- since that initial exposure. Easily the most vulnerable moment on a record that’s frequently on the offensive, it offers a voyeuristic glimpse of the mechanics driving Jawbreaker Reunion’s creative forces. “E.M.O.” also has an unexpectedly explosive chorus that lays waste to any harbored doubts about the band’s range. It’s one of the year’s more breathtaking musical moments and it ensures Jawbreaker Reunion’s status as an emerging force.
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8. LVL UP – Big Snow
The four-song split between LVL UP, Ovlov, Krill, and Radiator Hospital would have likely topped this site’s best splits of the year list even if it hadn’t been grouped in with Ovlov’s other entries. A large reason behind that it LVL UP‘s “Big Snow”, a song that managed to stand out in the band’s catalog even taking the landmark achievement that was Hoodwink’dinto account. “Big Snow“, the rare LVL UP song that features all three vocalists in the group, has been kicked around in some form or another since the band was writing demos for their debut full-length, Space Brothers. In its first release as “Big Snow”, though, it’s a stunner of a track, highlighted by the vocal exchanges and one of the year’s most blistering riffs. Everything lines up in a typically (compellingly) off-kilter way that accentuates the band’s innumerable rough-hewn charms. Constantly shifting and casually brilliant, it’s yet another indicator that LVL UP is one of the best bands currently making music.
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7. Little Big League – Year of the Sunhouse
Another song to appear on a split with Ovlov (it’s literally impossible for me to overstate how incredible Ovlov’s splits were this year), “Year of the Sunhouse” was a career highlight for Little Big League, even taking their outstanding Tropical Jinx into consideration. It’s a song that stunned in a WatchThis-approvedsegment and it’s only grown more appealing with time. Punchy and refined, it takes pinpoint aim and unloads, hitting an elusive target multiple times over. Led by powerhouse drumming and Michelle Zauner’s most ferocious lyrical and vocal outing to date, it’s a song that portrays Little Big League as a band who refuses to back down. As an additional bonus, it also features a second stanza that may very well be the year’s outright best, one that’s punctuated by a life-giving declaration.
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6. Cymbals Eat Guitars – Warning
It’s sincerely doubtful that there was a record in 2014 that was more emotionally charged than Cymbal Eat Gutars’ LOSE, which dealt heavily with the death of a friend. The way that difficult subject’s dealt with is a large part of the reason why the song and it’s accompanying music video earned so many kind words, which also factored into its placement as one of the best music videos of the year. Devastatingly heartfelt and heartbreaking in its vicious nature, it’s propped up by the year’s best single line in the chorus’ “the shape of true love is terrifying enough”. For all of the difficulties, there’s a subtle strain of hope that imbues “Warning”, rendering it a resounding statement of humanism. Deeply tragic and towering in scope, this is the kind of song that’s worthy of inspiring others to start making music on their own terms.
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5. Radiator Hospital – Cut Your Bangs
“Cut Your Bangs” is a song that’s been kicking around on this site since its original bandcamp release. My personal pick for song of the summer, it’s an exacting look at the way Sam Cook-Parrott’s sense of damaged romanticism manifests in Radiator Hospital’s music. There’s an emphasis on the minutiae, every mundane bit is scrutinized and brought to the forefront. Poetic and unflinchingly honest, it’s put in sharp contrast by the music surrounding the story. There’s a swing-like feel to what’s happening in the background, lilting into a reassuring groove as the narrative grapples with everyday loss. Small lies add up to a mountain of mistrust but, if you’re lucky, your friends will always be there to back you up and convince you that everything’s okay.
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4. Speedy Ortiz – Doomsday
Very few songs have ever hit me as hard as “Doomsday”. It’s a personal best for Speedy Ortiz, which is no small claim, and very few songs this decade have come across so honestly. Sadie Dupuis’ vocal take for “Doomsday” is absolutely stunning, wounded and impassioned in equal measure; a desperate and veiled final cry searching for some form of absolution. An impossibly beautiful vocal melody and an atmospheric guitar section are subtly fierce grace notes in a song that sounds embattled and defeated. Released as part of the LAMC series (courtesy of Famous Class Records), it would have been more than enough to land the entry it was included on in the best splits of the year list. Weary and grasping at a sense of triumph, it’s a fascinating classic that deserves to be heard by anyone with even a passing interest in music.
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3. Mitski – Townie
My relationship with Mitski’s music began with this song and that first listen remains one of my more memorable encounters with anyone’s music in 2014. Since then I’ve been fortunate enough to film it twice: once in an intimate acoustic setting (for The Media) and once full-band (with Mitski backed by half of LVL UP). Even putting those personal moments aside, “Townie” was an immediate standout from what turned out to be one of the year’s strongest albums, Bury Me At Makeout Creek. For those who were fortunate enough to be aware of Mitski’s previous work, “Townie” was a sharp left turn for the enigmatic solo artist and it emphasized a growing certainty in her work. This was a hold-no-prisoners, everything out in the open type of track; a watershed moment for an artist whose career was set to skyrocket. By the time the theremin solo kicks in, everything’s already been set on fire and Mitski’s grinning to herself miles away from the maelstrom. A testament to self-reliance and utter conviction, “Townie” is a clarion call from an artist too important to be ignored.
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2. Pile – Special Snowflakes
Pile’s Special Snowflakes 7″ just topped this site’s list for that category. No 7″ had a stronger single song A-side and no song managed to sink into my memory more than that song, “Special Snowflakes“. Pile have cultivated a cult following by refusing to adhere towards any one trend or another and instead opting to follow their own distinctly unique twists and turns. No song felt as monumental in 2014 as the band’s current crowning jewel, a seven minute battering ram of a track. Through a series of exhilarating peaks and crushing valleys, Pile manages to introduce an atmosphere that’s ferociously bleak, refusing to settle into one mode for too long. Pulverizing and epic, “Special Snowflakes” suggests that Pile’s operating at the height of their powers, which bodes well for their forthcoming full-length. It’s also another release that embodies everything great about Exploding in Sound Records and the vast number of reasons the label’s so frequently celebrated here. This is bold, inventive music that thrives on its own conviction, on its own terms, and will be remembered for leaving a trail of well-intentioned destruction in its wake.
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1. Perfect Pussy – Interference Fits
No band has been written about more on Heartbreaking Bravery than Perfect Pussy (a band I traveled considerable lengths to see eight times throughout the course of 2014). No song has meant more to me than “Interference Fits”. Putting aside the fact that vocalist Meredith Graves (who has somehow become this site’s patron saint and is still its sole interview subject) unexpectedly dedicated this song to me in Minneapolis, putting aside the fact that she cried in a comic book store after I alerted her to the fact that it had started streaming on NPR in advance of Say Yes to Love‘s release, and putting aside the fact that she used my original write-up as a reference point for hope, that statement would still hold true. “Interference Fits” soundtracked a lot of bigger moments for me in what was a very turbulent 2014 and the original connection I forged with the song only deepened as the year progressed. Fitting, since it’s a song about making and severing connections; Graves’ most personal outpouring to date. The lyrics, as always, are beyond stunning but the song wouldn’t be anywhere close to as unshakable as it is if it weren’t for Perfect Pussy’s most adventurous musical turn-in to date. Eschewing their normally blown-out mode in favor of something more subtle and restrained, “Interference Fits” proved that Perfect Pussy weren’t, as some naysayers originally suggested, a one trick pony. Easily the band’s most delicate and ornate offering to date, it retained their whirlwind intensity and cutthroat identity. Masterfully wielding a tension and explosion dynamic, “Interference Fits” lures listeners in with its first half before a measure of silence provides a foreboding warning to one of the most cathartic second acts in a song this decade; there’s as much narrative in the music as there is in the lyric set. With raw power lingering in the wings and at the heart of its diarist leader, Perfect Pussy created something that stung deep enough to leave a lasting, curiously endearing scar.
Normally Watch This gets posted on Sunday, which is when Vol. 64 was intended to run. Persisting technical problems and a commitment to an upcoming week of year-end coverage delayed this post, though it’s still structured the same as a standard Watch This feature. The five clips below were some of the best to emerge from the week preceding the current one. A few site favorites, a living legend, and a new name all earned mention’s for standing out in last week’s particularly great haul. King Tuff, Generationals, The Soil & The Sun, and Jenny Lewis were all featured in great performance clips but were just edged by the efforts below (which, looking at that company, should say something). So, as always, sit back, turn the volume up, calm down, and Watch This.
1. King Khan and BBQ Show (KEXP)
King Khan and BBQ Show have been raising hell for years now, always stuck in an exhilarating acceleration. Here, the duo don their masks and take to KEXP’s studio to deliver a frantic four-song performance, trading vocal leads and exuding a sense of personal freedom. We Are The Champion is the band’s upcoming record and- as demonstrated by this performance- it’s going to be one worth owning.
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2. Las Rosas (BreakThruRadio)
Much like King Khan and BBQ Show, Las Rosas excel in mining previous decades’ most popular rock n’ roll touch points and integrating them into something unflinchingly modern. They recently stopped by BreakThruRadio for a memorable run through a few of their best songs. Doo-wop, soul, and punk all factor prominently into their sound and that particular sound only gets better in a live setting.
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3. Mumblr – Masturbation (Space Jam Sessions)
A few months back, Mumblr routed their tour up to Stevens Point, WI and took part in this site’s 1-year anniversary party. 2014’s had a lot of really memorable moments and the band’s set’s right up there with the very best. Unsurprisingly, the band’s delicate acoustic-driven take on “Masturbation” for Space Jam Sessions proved to be one of last week’s more arresting clips. Get to know this band and then go catch one of their shows; it’ll be memorable.
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4. Screaming Females – Ripe (Don Giovanni)
Next year Screaming Females– one of the best live acts currently going- will release Rose Mountain, an album that already seems like it’s shaping up to be a career-best effort. One of the already-unveiled songs, “Ripe“, recently got a Lance Bangs-directed live clip as a welcoming accompaniment. Does anything else really need to be said?
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5. Thurston Moore (KEXP)
With Sonic Youth, Thurston Moore became one of the most influential guitarists of the past 50 years. Even though that band’s split up, Moore’s live music continues to impress both on record and in the live department. KEXP recently hosted the band (which includes Sonic Youth’s Steve Shelley) for a session that featured songs from Moore’s most recent effort, The Best Day. Every member of the band’s in fine form as they make their way through a set that demonstrates Moore hasn’t lost any of his magic.
All of the evidence Screaming Females have been providing us of late seem to indicate that their upcoming album, the exquisitely titled Rose Mountain, could easily become their finest work to date. While most people seem intent on calling Ugly their crowning achievement, the debate over their previous “best record” had been endless. Even with Ugly in the mix, the separation between that record and, say, Power Move, isn’t all that sizeable. All of their records are absurdly strong pieces of work that feel gargantuan and genuinely complete, yet the songs they’ve been teasing Rose Mountain seem to exceed even that absurdly high level. “Ripe“, “Wishing Well“, and even “Let Me In” (the B-side to “Wishing Well”) all rank among the best songs the band’s ever done and that winning streak’s being extended with their most recent teaser track, “Empty Head”.
As was the case with “Wishing Well” and “Ripe”, the band seems to have opted to eschew their more abrasive tendencies to create something that pushes their arresting melodic sensibilities to new extremes. Bandleader Marissa Paternoster seems to be dragging her main project towards the realms that occupied the extraordinary Holy Hell, the last album from her solo project, Noun. There’s an undeniable pop bent to “Empty Head”, which features yet another chorus that finds the band swinging for the fences and connecting with a startling emphasis. It’s a less intimidating affair than a lot of the band’s past work but yet another indication that basements simply won’t be enough to contain this band or their sound. If Ugly was their breakthrough effort, expect Rose Mountain to push them into even higher echelons. Just don’t expect them to lose sight of their roots. For all they’ve accomplished in terms of stature, Screaming Females are still a band who are very comfortable with where (and who) they are.
Listen to “Empty Head” below, with it’s brilliant Paternoster time-lapse art video, and order Rose Mountain as soon as it’s out from Don Giovanni.
To close out tonight’s posting spree, there’ll be a few more gems in this introductory paragraph and then another look at Screaming Females‘ upcoming Rose Mountain to bring this bout to a close. Darlings teased the casual sprawl of the noise pop that’ll undoubtedly be populating their upcoming Feel Better with “Mein the Sky“, a track that single-handedly ensure Feel Better‘s status as a record to be met with anticipation. A curious pair of videos surfaced in the just-now-released clip for Jawbreaker’s classic “Boxcar” and a shadowy night drive provided the visual template for Total Control’s future classic, “Flesh War“. On the full stream front, Kid Wave unleashed torrents of shoegaze-inspired noise-punk with their incredible GloomEP, which deserves to be regarded as one of the year’s best. Then, to top everything off, Screaming Females dug their nails and teeth deep into the vicious “Ripe”- and in doing so, earned the last feature spot of the night.
“Ripe” accompanied the announcement of Rose Mountain (due out via Don Giovanni on February 24), the band’s follow-up to 2012’s career-best effort, Ugly. With “Wishing Well” having already provided a first look at the band’s upcoming record- and especially with “Ripe” augmenting it- the band’s trend of continuously topping themselves seems set to continue. Guitarist and vocalist Marissa Paternoster seems to be experimenting with a subtle restraint that’s paying massive dividends for the new batch of songs thus far, allowing the coursing energy of the music to be emphasized more fully than ever before. Unsurprisingly, Paternoster’s riffs remain as blistering as ever and her vocal delivery’s still incredibly impassioned and laced with a staggering amount of conviction.
Jarrett Dougherty’s drumming’s still as powerful as it is precise but the work King Mike lays down on bass is easily among the best of his career. Paternoster and Mike trade riffs with a deranged glee, building “Ripe” into an unshakable basement punk bruiser. At some point over the course of the song’s three minute and 17-second run time, it seems like “Ripe” lights a fire underneath itself, pushing everyone in the band to play like their lives depend on equally fiery performances. This eventually leads the trio straight into one of the best bridges they’ve concocted, aided by some brilliant production work that rivals what Albini managed to accomplish with Ugly. By the time “Ripe” comes to its severely punchy conclusion, Screaming Females have outrun another grenade blast of their own design. Should all of Rose Mountain live up to the promise of its first two tracks, 2015 will have a very early Album of the Year contender.
Stream “Ripe” via the somewhat disconcerting video below and make sure to pre-order Rose Mountain from Don Giovanni as soon as it’s a possibility.
[EDITOR’S NOTE: First off, to get this out of the way at the top, there will be no Watch This today. It’s absence will be made up with a unique 50th post next Sunday.]
We recently hit another quarter mark in the year and this site just hit another fifty posts. A digital mixtape- Three Quarters Down– has been curated to celebrate both of these occasions. All 25 songs on display have managed to become favorites in the span of their (admittedly short) existence. It didn’t matter where they came from- splits, records, singles, exclusives- if it was a great song that came out over the course of the past three months, it wound up on the list. However, there are a handfulofothers that were excluded by virtue of not appearing in Soundcloud’s public library- those will likely get their due in December both here and elsewhere. In the meantime, revisit some of the best songs that led us straight into fall by listening to the mix below.
Beneath the 8tracks player is the original listing of the songs in this collection. Enjoy.
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1. Mitski – Townie
2. Two Inch Astronaut – Foulbrood
3. LVL UP – DBTS
4. Little Big League – Tropical Jinx
5. The History of Apple Pie – Jamais Vu
6. Menace Beach – Come On Give Up
7. Thalassocracy – Shimensoka
8. Cellphone – Human Rights
9. Ovlov – Ohmu Shell
10. Mumblr – Sober
11. Trust Fund – Reading The Wrappers
12. Girlpool – Jane
13. Night School – Casiotone
14. Happy Diving – Sad Planet
15. Dilly Dally – Green
16. Washer – Rot
17. Speedy Ortiz – Bigger Party
18. The Midwest Beat – Vortex Hole
19. Bass Drum of Death – For Blood
20. Mannequin Pussy – Sheet City
21. Pity Sex – Acid Reflex
22. Mogwai – Teenage Exorcists
23. Nothing – July The Fourth
24. Dark Blue – Here On My Street
25. Crimson Wave – Say
Even with recent Monday’s bringing a lot of great new content into the world, today was exceptionally gigantic. Everything that appears in a hyperlink is worth clicking over to experience and choosing what to feature was insanely difficult. Enough with the exposition, though, because there’s a lot to mention- which is why each of these categories will be provided with their own paragraph (starting with this very one). In the world of full streams, NPR’s First Listen series presented Meattbodies’ self-titeld stomper, New Noise Magazine put up a full stream of Heart Attack Man’s excellent Acid Rain EP, Stereogum hosted the first stream of Greylag’s enchanting self-titled debut, and Dark Thoughts posted the blistering (and damn near perfect) ripper of an EP, FourSongs,on their own.
Over in the territory of single song streams, Radical Dads posted the remarkably compelling “Cassette Brain“, Popstrangers continued to excel with a Mack Morrison cover, post-hardcore supergroup Vanishing Life lived up to their promise (and then some) with the vicious “People Running“, The Mantles raised the anticipation for their forthcoming Memory with its jumpy title track, there was the deliriously riffed-out “Mortality Jam” that came courtesy of Hound, another extremely promising look at Night School‘s upcoming EP (following the outstanding “Birthday“), Wilful Boys’ snarling rager “Anybody There“, the pulverizing new synth’ed out post-everything track “10,000 Summers” from the incredibly unlikely group of people that make up No Devotion, and an absolutely breathtaking song from Infinity Crush called “Heaven” that easily ranks among the most gorgeous pieces of music to be released this year (and very nearly took today’s feature spot).
Jumping to the realms of the more visually-inclined medium, things were just as tantalizing with no less than seven music videos worth watching. Greys crafted a creatively animated and hard-hitting skate-heavy clip for If Anything bruiser “Adderall“, Lushes hit a sweet spot with their repetition in “Traffic“, Obits used minimalism to a sizable effect in the low-key clip for “Machines“, newcomer Pix made a splash with a subtly haunting accompaniment for the stunning “A Way To Say Goodbye“, The Wooden Sky raised their profile with a fascinating short film to back “Saturday Night“, site favorites Radiator Hospital premiered a lovely DIY clip for “Bedtime Stories (Reprise)” over at Rookie, and Martha more than lived up to all of their praise with the unabashedly joyous video for “Present, Tense” (another entry that came dangerously close to being today’s feature).
Even with all of that formidable competition nipping at its heels, Screaming Females‘ “Wishing Well” managed to be a clear-cut standout. Boasting one of the most massive choruses the band’s ever had, some of the lightest verses they’ve ever conjured up, and an overwhelmingly sunny melody, it’s impossible to ignore. “Wishing Well”, by all accounts, is an absolute monster of a track and lays waste to the poppiest territory they’ve ever tread. Guitarist and vocalist Marissa Paternoster keeps herself in check, showing surprising restraint and a vice-like grip on total command. It’s no secret that Screaming Females are one of the best live bands currently playing shows- and it’s not even remotely surprising that “Wishing Well” has become both a fan favorite and an undeniable staple of their live set.
As Paternoster noted in the brief segment that ran with the Rolling Stone premiere of “Wishing Well”, a lot of people will likely view this as a departure for the band- despite the fact their regular dynamics are still in tact. Sure, it’s more melodic than anything they’ve done in the past but it’s also unmistakably Screaming Females, definitively proving the group’s unique identity. In terms of aggression, “Wishing Well” skews closer to Paternoster’s Noun project and acts as an exhilarating bridge between both vehicles, suspended by pure determination and innate talent. “Wishing Well” is easily one of 2014’s most thrilling songs and comes backed with what may very well be the band’s personal best- “Let Me In” (another fan favorite and live staple)- rendering this 7″ nothing short of an event.
Listen to “Wishing Well” below and make sure to pick up the 7″ it headlines directly from the band on one of their upcoming tour dates or pre-order it from iTunes.
The Watch This series, up to this point, has mostly placed the overall focus on videos that just feature a band performing. For the 41th installment, that rule gets slightly modified. With the exception of a typically astounding performance from Noun (Screaming Females’ Marissa Paternoster’s extraordinarily consistent solo project), every video to earn a feature spot in this volume features a brief interview with the band playing music. In the case of the videos that bookend this week’s Watch This, the result is incredibly endearing- while the rest manage to be moderately informative without stripping away a sense of playfulness. More importantly though, the performances included below are uniformly outstanding and deserved to be spotlighted. With that said, it was a very difficult class of videos to select from, thanks to the abundance of great performances that surfaced from artists like Unicycle Loves You, Cousins, Bahamas, Jenny Lewis, Hollow Boys, Cheap Girls, and St. Vincent. So, as always, pour a drink, grab a seat, adjust the contrast, turn up the volume, and Watch This.
1. White Lung, ft. Katie Crutchfield – Dead Star (Noisey)
In what seems like a gift tailor-made for this series, White Lung’s Mish Way and Waxahatchee’s Katie Crutchfield teamed up together for a pair of acoustic performances. Crutchfield holds down guitar and melody duty on this stripped-down take of White Lung’s excellent “Wrong Star”. Before the performance, the two share a few words and a palpable connection, subtly setting the stage for how complementary their musical abilities wind up being. Unsurprisingly, this is a gem of a performance that reaffirms both artist’s deserved status.
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2. White Reaper (Consequence of Sound)
Delivering a fiercely committed performance, White Reaper gives Consequence of Sound (and everyone else) a startling reminder of the strength of their debut EP. Here, they hold nothing back and just go full-throttle, emphasizing the kind of spastic energy that’s frequently a hallmark of the most entertaining live bands. In the short-form interview, the band discusses the meaning behind both “Half Bad” and “Oh Yeah”, giving a direct line of insight for their work- an increasing rarity. Starting and ending with two memorable performances, this is a can’t-miss video.
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3. Noun – You and Mr. Rogers (Don Giovanni)
Screaming Females’ Marissa Paternoster’s solo project, Noun, should be every bit as prominent as her main vehicle. After releasing an incredible 7″ and what’s one of the decade’s finest LP’s, Holy Hell, Paternoster understandably refocused on Screaming Females. Lately, though, she’s been playing solo shows with greater frequency and quietly unveiling new material. Here, Don Giovanni captures Paternoster delivering a gripping take on a song called “You and Mr. Rogers” that showcases her raw talent. It’s genuinely stunning, offering up a more fully-formed portrait of Paternoster’s quieter side. All of the applause at the end of the clip is absolutely warranted.
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4. Mannequin Pussy (BreakThruRadio)
Mannequin Pussy’s Kiss Me TenderEP was a beast of a release that was highlighted by the unrelentingly fierce “Kiss“, which also headlines their recent session for BreakThruRadio’s excellent Serious Business series. In the video, there’s the standard irreverent interview portion that is intercut with some blistering live footage of one of today’s more exciting new on-the-rise bands (it’s worth noting their first demos were released back in 2011). “My Baby (Axe Nice)” and “Anything” also get featured here, cementing Mannequin Pussy as another live act that’s not worth missing.
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5. Waxahatchee, ft. Mish Way – Coast to Coast (Noisey)
Returning to the collaboration of Katie Crutchfield and Mish Way, the pair reverse the featured project- this time delivering an arresting performance of Waxahatchee’s “Coast to Coast”. Way’s melody lines float along effortlessly, providing a welcome layer to an all-acoustic take of what was easily one of last year’s finest songs. Even though Cerulean Salt only came out last year (as did Groovy Kind of Love), this performance alone is enough to reignite excitement for whatever Crutchfield has in store next.
While today’s Watch This marathon still won’t be over with this installment, it is drawing to a close. Several of the very best performance clips were reserved for both the 36th and 37th installments of the series. A lot of site favorites are included, giving performances that completely validate their status as such. Everything from Marissa Paternoster’s outstanding solo project to Lydia Loveless’ first spot to PUP delivering a blistering take on the song that drives the best music video of the year-so-far, it’s a lot to celebrate. So sit back, refocus, and Watch This.
1. Noun – I Don’t Love Anybody (Don Giovanni)
Marissa Paternoster’s experienced no shortage of success with her main project, Screaming Females, but her finest album to date may very well be the debut full-length for her solo project, Noun. While that record, Holy Hell, isn’t as revered as Screaming Females’ most popular works, it stands up right alongside them as a full-bodied work. Here Paternoster strips back and takes an all-acoustic attic run through “Make Me”, solidifying her status as one of the most magnetic performers out there today.
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2. Beverly (BreakThruRadioTV)
Ex-Vivian Girls/Dum Dum Girls member Frankie Rose and Drew Citron teamed up earlier this year under the name Beverly and surprised just about everyone with one of the more definitive summer records, Careers. In this performance for BreakThruRadio, the pair have a full band backing them and prove to be much more than just a great studio act. Careers highlights “You Can’t Get It Right” and “Honey Do” (which also has a lovely music video) are featured here and sound as perfect as ever.
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3. Radical Dads – Know-It-All (TCGS)
Riff-happy trio Radical Dads were one of the last bands to earn a spot on The Chris Gethard Show and it’s easy to see how they wound up there; this is boldly aggressive and intriguing work along the lines of Sonic Youth while doing away with their particular strain of detached NYC cool. Bananas dance, rimshots ring out, guitars get thrashed on, and everyone gets into it- it’s just about impossible not to.
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4. Lydia Loveless (NPR)
Lydia Loveless has been making quite a name for herself these past few years and has continuously lived up to the attention she’s been given. Possessed with a gift of a voice and genre sensibilities that rival and recall both Neko Case and Gillian Welch, the young songwriter’s well on her way to leaving behind a legendary discography of her own. Loveless and her band recently took over NPR’s Tiny Desk Session and, more than likely, converted a whole lot of people while doing so.
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5. PUP – Guilt Trip (KEXP)
“Guilt Trip” already stands out for having one of the most stunning music videos to come out of this decade but, as great as that video was, the song really comes to life in a live setting. While the rest of the band’s KEXP session was admittedly outstanding, “Guilt Trip” was just a few levels above the rest of the batch. This is one of the best performances the station’s seen since Cloud Nothings’ towering Attack On Memory session (which still stands as KEXP’s high-water mark) and, just like the video, deserves to be seen by as many people as possible.
Heartbreaking Bravery 