Shaun Sutkus | Heartbreaking Bravery

April 5, 2014

Perfect Pussy at Township – 4/1/14 (Live Video)

There are times when I’ve broken one of Heartbreaking Bravery’s most defining tenets (no self-identifiers: the music is more important than the reviewer) in an effort to illuminate something. This will be one of those times for several reasons: 1) This post may mark the last time a point n’ shoot is used for content on Heartbreaking Bravery. 2) This is the first time, and certainly not the last time, a (new) self-shot full set will be appearing on this site. 3) Perfect Pussy have already qualified as exempt from this rule for reasons explained here (and then again here). 4) By posting this, I’m hoping to stabilize a bridge between a focus on music and a focus on film (look for more on that later). 5) It’s the only way I could think of delivering these points as honestly as possible. 6) I firmly believe in a support structure between DIY publications and fully intend on this being the first part of a collaboration piece.

With all of that out of the way, there’s only a few things left to say before the video(s) themselves: Yes, this is a severely blown out recording with some seriously damaged audio quality. Yes, there is an unexpected break that results in a twenty second delay between the monstrous second half of “Interference Fits”. Yes, there are times where the band goes completely out of frame. Yes, that was because I kept getting hit hard enough by the wildly enthusiastic crowd around me to be literally upended into the stage multiple times over (and, yes, I loved every second of it, bloodied up leg, beer-soaked jacket, bruised hips and all). Yes, this isn’t the greatest live presentation in the world- far from it, in fact- and yes, this is primarily being posted because it’s something I fiercely love (and has people that I love dearly in it). No, that doesn’t affect my judgment at all- these were all instances of friendships born out of love for their art and through mutual understanding/support. Yes, there will be a review of this entire show (along with more photographs)- but not on Heartbreaking Bravery (more to come on that later). Yes, I really am posting this right after the Minneapolis review– and yes, all of this can be seen in two parts below.

Enjoy.

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April 5, 2014

Perfect Pussy at 7th St. Entry – 3/30/14 (Live Review)

First of all, deepest apologies for the delay in content. It’s been an incredibly busy week and there hasn’t been much time to post anything between driving over 1,300 miles, prepping all of the content that came out of that trip, and the crippling side effects of getting a total of nine hours sleep over four days’ time. There was a reason for all of that insanity and the reason, for anyone even remotely familiar with this site, won’t come as a surprise.

It had only been two short months since the last time the coverage of Perfect Pussy’s incendiary Chicago set, which was something that played a definite factor in the decision to drive from central Wisconsin to Minneapolis to Chicago over three days to see them play two more sets. While there will be more to come on the second Chicago show, this piece will be devoted to their Minneapolis stop at the legendary 7th St. Entry, which more than lived up to its reputation.

Not only was the drive down much more pleasant than the potentially life-threatening Chicago trip back in January but there was actually time to spare before the opening acts, ensuring both time to settle in and the ability to see all three bands on a characteristically impressive bill. First up were local stalwarts The Miami Dolphins. All wiry nerve and frenetic energy, the quartet ripped through one of the most memorably spastic sets there’s been in quite some times. Seamlessly transitioning between a shrill metallic dissonance falling somewhere between Shellac and Sonic Youth at their most aggressive, the completely left-field work of The Minutemen at their strangest, and moments of both staggering heaviness and genuinely bouncy surf-inflected powerpop sounds like a mess on paper. Luckily, the written word doesn’t dictate motion. The Miami Dolphins’ set managed to be unpredictably thrilling and left a deep impression- they control their future by the sheer virtue of fearless originality. There’s not many things in music that are more commendable than pulling that feat off.

A set as jumpy and insanely bug-eyed as The Miami Dolphins’ one, especially when used in the opening slot, has multiple benefits- one of them being that it can cover a wide range as a set-up for the ensuing act. Condominium‘s abrasive hardcore noise somehow seemed to dovetail quite nicely with their preceding act despite occupying two very different ends of the hardcore spectrum. Their unifying ground may have come via what seems to be a distinctly unique debt to the readily apparent influence of Steve Albini but the level of intensity both brought to their live sets wound up being what pushed them into a comfortable coexistence (and wound up heightening the expectations for Perfect Pussy’s set). They played as loud as possible and approached frightening with their militaristic precision but really seemed to live for the moments of pure noise (usually generated by guitarist Greg Stiffler’s penchant for maximum-impact feedback sections). More than anything, they obliterated any lingering doubts (if their were any to begin with) that their Sub Pop signing and subsequent release was a fluke. Last Sunday their set seemed to indicate that they were far from done. Expect to be hearing about them quite a bit more in the coming years.

After two incredibly loud sets (neither lacking in the intensity department), the stage had been set and the bar had been raised. Perfect Pussy came out, sans vocal amp, set up and looked downright tranquil for a few moments to the point where it became an effectively eerie calm-before-the-storm situation, all members looking down at their feet or out at the void that exists pasts the blinding stage lights. Meredith Graves, one of the most seductively intimidating and forceful performers on the face of the planet, paced silently. Then, it happened. Drummer Garrett Koloski counted the band in and they took off with enough velocity to send the crowd into immediate hysterics. All of the band poured every inch of themselves into their near-twenty minute set (a marathon by their past standards) and absolutely tore through the majority of Say Yes to Love while also making sure I have lost all desire for feeling wasn’t completely neglected either.

Both the band and the audience fed off of each other in another strong example of the most supportive symbiotic relationships imaginable, reaching a fever pitch during the band’s last stretch that kicked off with the back half of the unbelievably gorgeous-turned-unbelievably fierce “Interference Fits” (a highlight even without an introduction containing a dedication worth eternal gratitude for). Shaun Sutkus’ body shook violently, as if he was possessed, guitarist Ray McAndrew couldn’t stop thrashing around even during the very few song breaks that the band allows, and bassist Greg Ambler seemed to be everywhere at once. At several points, being on the stage looked about as risky as being in the center of the audience. That potential danger seemed second nature to everyone between those four walls, though, as it was nearly impossible to find anyone in 7th St. Entry without a massive grin on their face.

Feeding into that relentless energy and making Perfect Pussy’s set even more memorable was the fact that it sounded incredible (seriously, major props to whoever was behind the soundboard, bands that loud and chaotic are not easy to mix- especially when the singer’s notorious for wanting to drown the vocals in swells of interference and pure feedback). Actually hearing Graves yell things like “Ain’t that a big drag?!” over the staggering wall of noise her bandmates conjure up around her was nearly as cathartic on its own as the presentation as a composite whole. There were times where it really was all whirlwind, heat, and flash. Photographers staked out their ground early only to be swallowed up in the chaos surrounding them, beer was spilled on just about everyone, converts were made and the band was onstage, doing what they love, clearly having the time of their lives, unafraid to show their adoration for anyone in the audience reacting to something they created.

By the time Sutkus’ epilogue showcase had finally run itself into silence, McAndrew, Ambler, Koloski, and Graves had all exited the stage, visibly exhausted but still feeling the overwhelming excitement that comes with being at the center of a groundswell. They may have their detractors, they may also have the accompanying anxieties of being a band that’s incredibly visible so early on, and they may very well have escalating levels of doubt- but one thing’s for sure- they put on one hell of a show. All fingers crossed that this thing they’re at the center of lasts as long as it possibly can- and that they get every ounce of enjoyment out of it as humanly possible. They deserve it.

Photographs below.

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March 23, 2014

Watch This: Vol. 18

Well, it’s finally happened. Watch This, after a few rough weeks of illnesses and technical difficulties, is back in its regularly-scheduled-programming mode and the offerings on display for the 18th installment all feel like vintage Watch This material. Yes, a lot of it ties back to SXSW but it’s going to be impossible to escape that for a while- consider it an opportunity for reflection for those lucky enough to go, and a peek inside for those who were pining to go. Now all that’s left to do is sit back, set aside the March Madness bracket for, and Watch This.

1. Cosmonauts – What Me Worry (Sailor Jerry)

Sailor Jerry continues to impress this week with a great presentation of Burger favorites Cosmonauts at SXSW. It’s hard to shake the feeling that this won’t be the last week a clip from SXSW 2014 gets posted, it’s also difficult to imagine this is the last appearance for a Sailor Jerry video as well. Cosmonauts, for their part, deliver a surprisingly absorbing performance of “What Me Worry”, a catalog highlight.

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2. Nothing – Downward Years to Come (Live at Saint Vitus)

Speaking of things that are likely to continue making an appearance: yet another video from Saint Vitus/unARTigNYC. This time around, Nothing are the center of attention and give “Downward Years to Come” their all. Nothing were another band that reportedly had a very memorable SXSW run, generating a lot of conversation (particularly after what was said to be an incredibly fierce set on a pedestrian bridge) and making converts of seemingly anyone who crossed their path. After watching this video, it’s not difficult to imagine how that happened.

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3. Nü Sensae – Eat Your Mind (Far From Home)

Nü Sensae seem like a band on a mission in the gorgeous video from the Far From Home series, sinking their teeth into “Eat Your Mind” for all of its worth. It’s an opportunity to showcase a great new(ish) band, one of their best songs, and a great new(er) video series; it’s everything Watch This is about. Watch it below and then maybe go take a shower- there’s enough dirt in the bass tone alone to make some kind of cleansing process a necessity.

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4. Perfect Pussy (NPR)

What? There was a high-quality professionally-shot-and-edited video of a Perfect Pussy set and it more than earned its spot on this list. It’s difficult to envision this lovefest between that band and this space ending anytime soon. For now, just reap the rewards that it offers up- like this video. Watch it. Watch it again. And then go listen to Say Yes to Love for the 50th time. It’ll be worth it. Promise. Watch it here.

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5. LVL UP – *_* (Live at Seaside Lounge)

Despite having already been featured on this site (and listed in the 25 Best list for 2013), it’s worth stressing that this is a band to know. “*_*” barely eclipses a minute but it’s one of the greatest a-little-more-than-a-minute’s anyone could ever hope for. Watch it and then go buy some ice cream (and also some of their laudable merchandise).

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March 13, 2014

Perfect Pussy – Say Yes to Love (Album Review)

At this point, no artist has earned as many mentions on Heartbreaking Bravery as Perfect Pussy. They’ve been such an influence on this space that I’ve made my peace with breaking Heartbreaking Bravery’s no first-person narrative rule when it comes to them for coverage. They’ve had a deeply personal impact and it’s not something that I take for granted. As both payback to them and as a kindness, when something as major as Say Yes to Love comes along, the only reaction I can offer is one that’s totally uninhibited. Where Meredith Graves lays her soul bare in the music, I’ll attempt to get to the core of mine in response. This isn’t some secondhand chore, either, it’s born of the same instinctively guttural nature so prominent in the band’s music. All of that, and reasons I’ll get to shortly, serves as enough reason to sever the ties of a faceless mask and dive into Say Yes to Love completely free of any filter that may impede personal sincerity.

That the crux of the last conversation I had with Graves was sincerity has been touched on before but is worth mentioning again to aid in some contextualization of Say Yes to Love. It’s a record full of unbridled confessionals, taking any notion of passivity and strangling it to death. Graves emerged as one of the more fearless lyricists out there last year with the release of the band’s career-making demo I have lost all desire for feeling. There were no reservations about holding back or closing people out, it was a cathartic gut-spilling on a deeply personal level. More impressively, and this isn’t something that’s mentioned often, is that it was highly literate. Graves is an admitted Barthes disciple and a voracious reader and that continues to show itself in her lyrics. It’s part of what made I have lost all desire for feeling so arresting and it’s what helps push Say Yes to Love to even greater heights.

Say Yes to Love is a record that showcases a surprising depth of range for the band that was only previously hinted at. From “Driver“, their fucking firecracker of an opener, straight through to the pulsating damaged electronic looping of “VII”, there are moments that will legitimately stun (and completely baffle) a fair amount of anyone lucky enough to listen to it. While “Driver” has been covered before, it’s worth noting that the song only grows stronger with each consecutive listen. When the music gets heavy and Graves drags one syllable of some unintelligible word to the peak of the mix is still one of the most thrilling moments of music I’ve heard this year. Everything’s delivered at breakneck pace and, in an incredibly rare case, there are no diminishing returns to be found in its intensity. The same holds true for the rest of the band’s music, which is likely another reason they’re experiencing a growing groundswell of success.

Much like Rooms of the House, this is a record that doesn’t take its foot off the gas pedal and hurtles itself towards an unknown destination, almost hoping for total catastrophe. There’s never a moment on Say Yes to Love that isn’t blisteringly intense, even when it’s at its quietest (“Interference Fits“) or indulging in disorienting electronic work. There’s always an exhilarating sense of not giving a fuck and letting go. It doesn’t matter what’s being let go either- whether it be control, memories, defenses, or order, there’s a definite sense of freedom to be found here. All of Say Yes to Love feels like a feral animal that’s longed to escape for decades only to have woken up without any constraints. Each of these eight songs is rabid and wild-eyed, wrapped up in nothing but cathartic honesty and temperamental attitude.

Earlier tonight the band played a characteristically fierce set as part of NPR’s SXSW showcase before Graves and noisemaker Shaun Sutkus sat down with NPR afterwards to discuss many things. One of them was the shifting nature of punk and how that while it is something that’s continuously evolving, one thing’s always stayed relatively similar: the attitude. On this front, it’s difficult to think of a higher-visibility punk band so fully embracing that aspect of the genre’s undeniable aesthetic. While the band’s music certainly flirts with art punk and hardcore, they’re never going to shake the punk descriptor because of how deeply that attitude is embedded into their music. It’s something that moves past Graves’ stunning lyricism and Sutkus’ unconventional approach to the way they present themselves onstage both physically and verbally- it’s even apparent in Graves’ empathy, kindness, and open honesty offstage. There are no apologies, everything is unbridled and nothing is held back. It’s fucked up and it’s beautiful- which may be the perfect way to describe Say Yes to Love.

Finding beauty in the damaged aspects of life is one of Graves’ underlining messages, intentional or not, and it’s worth celebrating. It’s not all of an anxiety-inducing seriousness, though, there are definitely some aspects of pure joy and just-for-the-hell-of-it brand fun scattered throughout the band’s music. Whether it’s a sly turn-of-phase, a winking chord progression, lighting off firecrackers in a local park before running from the cops, or swirling Graves’ menstrual blood into clear vinyl LP’s for the deluxe release of Say Yes to Love, it’s abundantly clear that the band’s youthful nature is as spry as it ever was. It’s hard not to spot that sense of fun in the relentless 1-2-3 punch of “Bells”, “Big Stars”, and “Work”. “Bells” has a jumpy glee-inducing tempo-shifting ending, “Big Stars” has its tongue firmly planted in its cheek from the get-go (the title alone…), and “Work”, while being the most serious of a three song set intense enough to render anyone breathless, has a fun-as-hell (albeit ridiculously pulverizing) final minute. That “Work” has such a ridiculously high level of intensity is no mistake, as it precedes “Interference Fits”, not only the center piece of the record, not only Graves’ most personal moment, not only the band’s mot stunning accomplishment, but one of the outright best songs of the past several years.

When “Work” ends abruptly and trails off into feedback, it sets up the surprisingly gorgeous first section of “Interference Fits”, which has Graves exploring her deepest fears and desires in a very public forum. Then, it happens. One of my favorite moments of any song; a measure of silence. That silence comes directly after the record’s most devastating moment, that finds Graves pleading out into nothingness “Since when do we say yes to love?!” It’s a moment that allows the listener to pause and reflect on the gravity of that question, one that should hopefully open up an internal dialogue for anyone who’s ever doubted the various positions of love in everyday life. It’s also a moment of restraint from a band known for being exhaustively restless. Most importantly, though, it’s a reprieve that makes the ensuing back half of “Interference Fits” sound absolutely massive, unleashing a deep-seated moment of catharsis as the band goes off like a volcano and a cavalcade of vocals descend on the listener, interfering with each other, as if Graves is inviting us to her own personal struggle. It’s intensely voyeuristic and- prefaced with that measure of silence- all too real. I’ll forever be grateful that there’s nearly a full minute of feedback to close that song out, as it allows some time to regain stability and composure.

Following “Interference Fits” is Say Yes to Love‘s shortest track, “Dig”, which doesn’t even eclipse a minute and a half but does effectively work as a shot in the arm after the ridiculously powerful “Interference Fits” and the record’s next big moment- “Advance Upon the Real”. Having originally appeared on the wonderful Beyond Inversion compilation, “Advance Upon the Real” showcases both extremes of Perfect Pussy- the frenzied hardcore-influenced assault of the band at their most revved up and the minimal deconstruction that so often serve as the band’s buried soundbed. In the song’s opening minute and a half, it’s an all-out auditory blitz- but when it hits that 1:30 mark it scales back drastically, revealing an ambient drone that’s manipulated so perfectly it feels like a lost Eluvium track. When it yields control, the record reveals its most shocking moment: “VII”.

If Perfect Pussy hadn’t made the impression they were subversive, they’re certainly going to be wearing that tag proudly now. “VII” is, by a long stretch, the most jarring and outright insane thing they’ve committed to a recording. The only point of reference that I can possibly think of for the almost nightmarish sound experimentation that takes place in “VII” is Giles Corey’s Deconstructionist, a 90+ minute sound experiment designed to induce trances, possession states, and out-of-body experiences that actually required instructional literature to guide the listener through the preparation. While, granted, “VII” is nowhere near as intensive on anything to be found in Deconstructionist, it skews closer to that than, say, the most unsettling points of Tim Hecker’s Virgins. It’s an extremely unsettling end to a record that lives up to and surpasses a few dozen mountains worth of expectations. With “VII”, Perfect Pussy manages to shatter any misconceptions about barriers they’re willing to cross. For Say Yes to Love, largely a positive record, to end on a note of sustained ambient menace (Graves’ vocals only appear briefly, distorted almost beyond recognition, rattling off bulletin points – among other things) is just the right level of total insanity to up the respective levels of anticipation on whatever the band does next (still waiting on more news of that split 7″ with Joanna Gruesome).

Once Say Yes to Love plays itself out, it’s almost impossible to not want to dive right back into it. It’s a record that’s built for exploring. Once again, Graves has held up a mirror to herself and the world will be poised to see themselves in it as well. There are oceans of things to relate to that are littered throughout Say Yes to Love. They’re all on open display, Graves is under the knife, guitars are splicing her open and the drums are pushing everyone further into their respective roles. “Driver”, “Advance Upon the Real”, and especially “Interference Fits” all feel more vibrant and alive as part of a masterfully sequenced and paced collection, while all of the new songs strike nerves deep enough to become memorable. None of the band’s immediacy has been sacrificed and- if anything- they sound simultaneously more joyous and more pissed off than they ever have before. With their increasing levels of visibility, Say Yes to Love also seems poised to deepen the divide between those celebrating the band and those mercilessly deriding it. Be prepared to have an opinion and back it up because this band isn’t going away anytime soon- and as long as they keep making music this good, I’ll be one of the people on the rooftops, shouting their praises as loud as I possibly can.

Stream Say Yes to Love over at NPR’s First Listen series and pick the record up when it comes out on 3/18 via Captured Tracks. “Interference Fits” can be streamed below.

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February 25, 2014

Perfect Pussy – Interference Fits (Stream)

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Ever since Perfect Pussy released I have lost all desire for feeling they’ve endured a level of scrutiny that’s generally given to bands who are several records removed from their debut demo (it’s next to impossible to stress enough how insane that is, especially considering this is a band operating on the fringes of hardcore). Since then, they’ve lit off a firestorm of opinions, played as fiercely as possible, released an extraordinary preview track of what promises to be an incendiary LP, a music video for I have lost all desire for feeling‘s lead-off track that was nothing short of life-affirming, and vocalist Meredith Graves was even kind enough to grace this very site with a characteristically revealing interview. As a result of this kind of whirlwind production (not to mention filling a select few LP’s with Graves’ actual blood), all eyes have been fixed on them, curious as to what they’ll do next. For now, the answer is the same as it’s likely to always be; subvert expectations.

Everything the band’s released up to “Interference Fits” has been balancing a duality between chaos and vulnerability, always leaning towards the former. “Interference Fits”, likely the upcoming record’s centerpiece, flips the script so adeptly, it’s honestly difficult to imagine the band in any other mode. From the undeniably gorgeous slow-building introduction to the moment of euphoric explosion following Graves’ disarmingly emotive shout of “since when do we say yes to love?!” there’s not a moment here that falls short of utterly, almost frighteningly, captivating. The song’s ultimately one of the best uses of the tension/explosion dynamic this side of Nick Cave & the Bad Seeds and full of a transcendental freedom that accompanies the kind of unassailable honesty the band traffics in. That the song’s closing moments are full of feedback isn’t a mistake either; it’s the calm after a storm of genuine self-evaluation- an epilogue to the manic run-through of the Important Questions. In all, “Interference Fits” is easily one of the best songs to emerge from 2014 and even more reason to look forward to Say Yes to Love (pre-order here). Do not miss this.

“Interference Fits” can (and should) be heard over at NPR and a live user-shot performance clip of the song can be seen below (thank you for shooting and uploading, loopyvids).

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February 19, 2014

Perfect Pussy – I (Music Video)

There are very few names that have been as instrumental to Heartbreaking Bravery’s (admittedly limited) early success and continuing expansion as Perfect Pussy‘s Meredith Graves. Endlessly supportive and impossibly kind, she’s lent an unwavering support that’s both humbling and welcome. For this reason and this reason alone, I’m going to abandon at least one rule of the hidden manifest I’ve held Heartbreaking Bravery to up until this 110th post; the use of a first-person narrative. I’m breaking this rule specifically for this post because these words will be about Perfect Pussy’s new music video as much as they’ll be about sincerity. Sincerity, compassion, and empathy were at the heart of our last discussion and were three of the things that attracted me to the band begin with. There’s an unflinching honesty that, as evidenced by the almost immediate backlash following their success, alienated about 1 person for every 10 that it’s inspired.

In terms of sentiment, the lyrical content on I have lost all desire for feeling elevates itself past the bleeding-heart realm into a full-on self-performed open heart surgery that cuts off halfway through, laying everything bare for onlookers. It’s not kitschy, it’s fucking brave. Detractors like to speculate that it’s all just an act, grossly unaware of how little of a veil there is that separates the band from its audience. There’s a heart on display that’s beating furiously and unapologetically, allowing anyone paying attention to interpret its motions as they will. Operating without a filter and embracing as much positive energy as humanly possible, the band’s already managed to establish a reputation for themselves on the strength of a four song demo and fierce touring.

All of those early trademarks- the empathy, compassion, sincerity, (positive) energy, fearlessness, and upfront honesty come together in Lukas Hodge’s clip for I have lost all desire for feeling‘s explosive opening track, “I”. Hodge opens the video with an endearing black-and-white shot of the band, all smiles, descending a staircase and led by an umbrella-toting Graves. Before the jump cut out of the stairwell hits an abbreviated quick cut sequence, Graves shoots the audience the kind of smile that seems to say “thank you” and “I love you” all at once, to anyone that cares. It’s a brief second that feels like it’s worth a lifetime, aptly illustrating a moment of something approaching self-actualization. It’s unlikely there will be anything as intimate captured this year.

Following the contained beauty of the band’s introduction, the video ably jumps between three scenarios; the live performance footage, the band shooting firecrackers off in a beautiful wide-open field, and walking around various city locations. All of “I” is lensed with a subtly soft, warm hue that maximizes the clip’s easy naturalistic feel. Though, there aren’t moments lacking in artistic merit in the face of that naturalism. While it’s difficult to tell whether or not it actually was raining, the band (and certainly the director) were likely aware of how significant something as simple as the umbrellas has been throughout musically-inclined film projects. From Mary Poppins to The Umbrellas of Cherbourg to, more recently, How I Met Your Mother, umbrellas have acted as beloved staples (and important plot devices) in culturally resonant art. While a two minute music video is obviously going to have to deal with some limitations, “I” already feels like one of the more definitive presentations of a very specific subculture within the confines of punk.

Before the video’s explosive confetti-strewn climax, Hodge manages to articulately convey the band’s frantic passion through exposition. By splicing together the outside footage with the performance, it’s easy to grasp the band’s personality which makes the final payoff that much more exhilarating. You want the people that greet you with a warm embrace to succeed, especially when their end goal doesn’t carry any inherently negative or mean-spirited consequence. That’s a space reserved for the kind of people who embrace the lighthearted fun that’s on display throughout “I”. By the time “I” hits its relentless stride and the band’s surrounded by friends, everyone under a shower of confetti and clothed in silly string, the moment feels deserved. Driving this point home, Hodge allows his camera to linger on a small group of hands that are raised up, as if in elated prayer, and a once small-but-significant moment acts as a stand-in for a much larger one; those few enlightened hands have now turned into thousands, each of which (mine included) more than happy to attempt to push the band to even greater successes and heights.

While Graves may still be on the operating table, picking herself apart and attempting to figure out how to live the most worthwhile life possible, there are people in her corner. There are people that know Perfect Pussy are a band that’s worth believing in, not just because they’re making great music but because they’re making sincere music, the kind that directly opposes the apathy that’s descended like a darkness and all but consumed the forefront of the DIY/basement punk scene. There’s an intrinsic value to Perfect Pussy’s commitment to honesty. At a time when things as basic as desire and enthusiasm are positioned as things that can damage credibility, I’ll be on the side of the band that comes into that fold and fucking destroys the misguided preconceptions about them. Perfect Pussy are a band that kids can look to and be assured that it’s okay to be excited about art and the importance of that should not be lost.

“I” will likely always be Perfect Pussy’s best calling card, distilling the band’s indomitable passion into a blistering 120 seconds (complete with an arresting mantra that perfectly captures the band’s paradoxical marriage of aspects gentle and forceful). Somewhere, in those two glorious minutes, an entire subculture’s esoteric pretense was stripped away. Somehow, Lukas Hodge managed to create a video that managed to push the band’s ideals further while presenting an accurate portrayal of their collective identity. Someday some fifteen year old kid is going to see that video and learn a myriad of things; that it’s okay to be who you are, that art/punk/noise/hardcore/whatever-the-fuck is one of the most gratifying experiences you can possibly have, that gender should never matter in music, that youth can be retained, and that sincerity is something that should never be overvalued.

Even if Graves & co. are pinching themselves now, in the midst of a rapid ascension to the kind of levels where all of their moves will be met with scrutiny, they’re not the sort to pay attention to any of the critical responses. That’s the final key to their success; by blocking out all of the outside opinion- apart from the reactions they get from shows, people buying merch through their bandcamp, or personal messages- they’re free to cater to the things they believe in. Luckily for us, those beliefs are worth celebrating. Nearly everything that I’ve written above (in addition to the twenty or so times I watched “I” today) has led me to a realization. Perfect Pussy have officially become a personal item for me. This isn’t a band I want to push- it’s one I need to. They’re doing important things, whether they know it or not, with a high enough profile that those things may have an actual impact and cause some positive reform in increasingly stale scenes. While Heartbreaking Bravery certainly won’t be the most visible source lending their aesthetics and creative decisions vocal support, it’s still worth discussing.

For a reminder of all of this, watch “I” below and pre-order a deluxe copy of Say Yes to Love over at Captured Tracks.

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Tag: Shaun Sutkus