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Tag: Slow Mass

18 of ’18: The Best Albums of the Year

When the headline says Best of the Year, the people who click over to the list have a few titles in mind they’re expecting to see because those same titles were in the previous list with that headline and the list before that one (and so on and so forth). A lot of that has to do with one simple, depressing fact: the PR those artists and labels can afford. To counteract that, a different approach was taken in compiling these selections. Any record that topped more than one of those lists outright (apologies, Mitski) was taken out of consideration for this list.

Every album that appeared in more than half of the lists I personally witnessed were taken out of consideration (a list that included Hop Along, The Beths, Courtney Barnett, Car Seat Headrest, Low, Saba, Snail Mail, Haley Heynderickx, and a handful of others). All of these lists share one unifying trait: they’re subjective. All of the records listed resonated with individual writers or made ripples among shared staff, striking at different nerves. All of the albums on this list made a lasting impression and will have at least one listener coming back years down the line. Buy these albums, support great music, scroll down, read, and hit play on the best albums of 2018.

Gabby’s World – Beast On Beast

No matter what moniker they’ve operated under, the music being produced by the band now known as Gabby’s World has been remarkable. In 2015, the group was responsible for O.K., the record that would ultimately top that year’s Album of the Year list. They’ve released a handful of music since then and experienced a stylistic shift as they’ve evolved, something Gabrielle Smith’s project wields to their advantage on Beast On Beast.

A more melancholic and subdued tone permeates through the record, while still providing a handful of emotionally cathartic moments. From the tender, bombastic opener through to the record’s hazy closer, Gabby’s World casts a spell that’s hard to break. Warmth and empathy inform so much of the band’s work that every song feels like a comfort, something familiar to sink into and disappear. It’s a trait that’s always been true of Gabby’s World but never has it been more present than on the abundantly graceful Beast On Beast.

Slow Mass – Watch On

Slow Mass, a band that’s gradually been improving for some time, took a significant step forward with the genre-resistant Watch On. So many subsets of rock and punk intersect throughout the record, morphing from classic emo to heady math-rock to wiry post-punk within seconds. What’s more surprising than the band somehow successfully integrating this further into their identity is the sense of cohesion that unites these passages.

Every song Watch On offers up contains a different highlight, ably demonstrating the band’s breadth of talent. A lot of its astonishing and none of its ever uninspiring or tepid. By committing to not staying in the same place, Slow Mass winds up with the most vital work of a promising career. Watch On takes every twist and turn on a path to greatness, which makes the trip as satisfying as the promise of a memorable destination.

Saintseneca – Pillar of Na

Over their past several records, Saintseneca have more than proved their adeptness at creating records that feel complete. The band hasn’t made an errant step throughout a run that’s seen their audience continuously balloon. Pillar of Na, the band’s latest, presented a unique challenge in the departure of Maryn Jones (also of All Dogs and Yowler), who suffused the band’s earlier works with a considerable depth of grace. Caeleigh Featherstone takes up Jones’ mantle and the band doesn’t miss a beat.

Pillar of Na also sees Saintseneca, who have long been praised for their Appalachian folk roots, drift further East and embrace a more traditionally Indian influence. “Circle Hymn” sets the record’s tone and the melody of the song paces the record, providing a gorgeous motif. Beautifully sequenced, incredibly rich, and ridiculously transfixing, Pillar of Na proves itself worthy of Saintseneca’s discography, which remains one of today’s finest.

illuminati hotties – Kiss Yr Friends

A band that picked up a little steam and took off sprinting, illuminati hotties showed the world what they’re capable of producing with Kiss Yr Friends. Opening with a tenderness that’s ingrained into their music before forging a much more explosive path, Kiss Yr Friends demonstrated the band’s enviable range and seemingly boundless songwriting talent.

It doesn’t matter what style illuminati hotties tries to take on, they succeed with every attempt, which is a trait that could help them cultivate an ambition that never stops expanding. A record full of self-reflection, pain, hope, and an elevated understanding, Kiss Yr Friends sees illuminati hotties making a considerable mark. Easily one of the more promising emergent acts of 2018, they’re already a powerhouse. Kiss Yr Friends is all the evidence anyone should need.

Anna Burch – Quit the Curse

Towards the end of 2017, Anna Burch teased Quit the Curse with a few tracks and videos that made a sizable impression and upped the levels of anticipation for its release. Those high expectations were both warranted and met as Burch released a record that carried all the way through 2018 without losing an ounce of its power. Sunshine-speckled songs that combined pop, surf, doo-wop, and Americana were granted a lacerating wit and plenty of punk bite.

Quit the Curse could easily be confused for a singles record by someone that didn’t know better but the songs on the record are tethered to an introspective narrative that acts as a welcoming as much as a warning. “Asking 4 A Friend”, “2 Cool 2 Care”, the title track, and every other song on this gem of a record find ways to dig into the listener’s consciousness, taking up residence and making themselves a comfortable home. It’s hard to think anyone will mind.

Ovlov – TRU

Steve Hartlett had one hell of a year, releasing two of 2018’s best records in Stove‘s ‘s Favorite Friend and the reborn Ovlov‘s TRU. The latter came as one of the most welcome surprises of the year, as questions of whether Ovlov had retired still abounded. TRU sets the record straight from the opening seconds of album opener “Baby Alligator”, which finds the band’s trademark characteristics fully intact.

Aggressive and melancholic, clear and hazy, Hartlett’s made a career out of thriving in improbable dichotomies, which is something TRU wisely brings to the forefront. A record that surges as much as it soothes, TRU also finds time to grapple with serious questions underneath all the noise (and, as always, there’s plenty of noise). Existential quandaries pitched at the highest volume continue to populate Hartlett’s writing as the band returns to making a home out of searching for meaning.

Advance Base – Animal Companionship

Ovlov weren’t the only project making an unpredictable return in 2018, as Owen Ashworth settled back into Advance Base to release an astonishingly gripping collection of new material. Animal Companionship ranks along the best works of Ashworth’s illustrious career. The record may actually benefit from Ashworth’s sabbatical from the project as Animal Companionship is imbued with the kind of gravity that can only be earned with age and experience.

Quiet devastation courses through Animal Companionship, which finds Ashworth reflecting on everything from failed relationships that were extended solely because of bonds forged with an erstwhile partner’s animals to the constraints of mortality and how to productively fill the arbitrary voids that are created by the harsh reality of our own impermanence. Reflexive, tranquil, and propped up by an extraordinary sense of empathetic warmth, Animal Companionship proves to be meaningful company all its own.

Lonely Parade – The Pits

One of 2018’s most exhilarating — and overlooked — records came from Lonely Parade, who provided the BUZZ (one of the most consistently great punk labels) roster with yet another shot of adrenaline. Wiry post-punk, basement pop, and slacker punk exist in harmony on The Pits, which is a vibrant and insistent triumph from a breakout act that made their abundant tenacity clear from the outset.

Every single track on The Pits bucks and bristles, ready to charge forward at any second. Clever hooks dominate the album, both vocally and instrumentally, as Lonely Parade sculpt a memorable, unmistakable identity throughout the course of The Pits. Romantic ennui, self-loathing, self-celebration, and unbridled frustration careen recklessly through The Pits‘ narratives, providing an unsparing look at modern life for young adults. A minor masterpiece that’s not afraid to get scrappy.

Gouge Away – Burnt Sugar

Gouge Away have been going increasingly hard for a few years now and that relentless has birthed Gouge Away, the post-hardcore quartet’s most vicious and complete work of a formidable career. The band expands their ambitions on Burnt Sugar to dazzling effect, showing an increasing willingness to lean into pop-oriented melodies and even to slow way down, which they do for the breathtaking “Ghost“.

Every second of Burnt Sugar provides the sense of being swept up in a hurricane. The stakes are literally life and death. Gouge Away commits to the former while fully acknowledging the latter, allowing that inevitable promise to inform their willingness to fight. Thrash, metal, and noise all provide inflections as Burnt Sugar roars along towards its ultimate destination, combining in inspired ways to provide Gouge Away with a startling new career high.

Young Jesus – The Whole Thing Is Just There

In 2011, Young Jesus were still operating out of Chicago and had just released Home, which marked a significant step forward for the band and remains one of that year’s best records. Since Home‘s release, the band has taken several more leaps forward, creating a momentum that’s taken them from a fledgling emergent act to something more akin to an indifferent meteor. The Whole Thing Is Just There the band’s first record of new material for Saddle Creek sees them continuing to hurtle through an empty oblivion, coasting on a frantic trajectory while trying to make sense of their surroundings.

Confines and restraints that dictated much of their previous work have been completely discarded in favor of the free-noise improvisation the group’s been honing in their live shows for years. Songs shift and morph at will, largely ignoring traditional structures. “Deterritory” goes from soothing ambient work to vicious post-hardcore in The Whole Thing Is Just There‘s astonishing opening track while the towering closer, “Gulf”, exceeds 20 minutes in length. Somehow, all of this seems grounded, attached to something genuine and unmistakably human. An extraordinary listen from one of this decade’s best bands.

Cloud Nothings – Last Building Burning

Following the milder Life Without Sound, Cloud Nothings wanted to make it excessively clear they wouldn’t be following the trend of rock-oriented artists taking an exceedingly pop-minded plunge. “On An Edge”, Last Building Burning‘s fiery opener, ranks among the bleakest and most punishing work the band’s committed to date. It sets a tone that the rest of the Randall Dunn-produced record lives up to and possibly exceeds.

In addition to the renewed emphasis on tonal and overall harshness, the band lets drummer Jayson Gerycz remind everyone he may be one of the single most valuable additions any band’s had this decade. Gerycz turns in a masterpiece performance behind the kit as Last Building Burning takes Cloud Nothings to new heights on the back of both excessive determination, subtle antagonism, and the most emotionally moving narratives bandleader Dylan Baldi’s ever penned, with several gut-punches centered around being a largely passive bystander forced to repeat the same pleas while someone close is enduring an abusive relationship and refusing to navigate their way out.

Brutal and desperate, Last Building Burning is full of songs that evoke the record’s title. While that title may focus on just one fiery structure, it’s not hard to imagine an entire metropolitan skyline being razed. Cloud Nothings finds a way throughout Last Building Burning to acknowledge the flames, the ashes, and the pain that led to that level of demolition. Unforgiving and deeply personal, Last Building Burning may just be the ceaselessly impressive band’s masterpiece.

Big Ups – Two Parts Together

Few bands get to go out on career highs, at the apex of their creative talent, and with an ascendant group of followers. Big Ups made sure they were one of those few with the volatile, challenging, and inspired Two Parts Together. What will likely stand as the band’s final release, Two Parts Together acts as a total culmination of what one of the best hardcore-adjacent acts has put together over the course of an acclaimed career that sparked a considerable amount of admiration among their peers.

Two Parts Together may be the first Big Ups record to match the band’s transcendent live show, keeping the listener entranced as it takes one jack-knife turn after the other at breakneck speed with deadly precision. More than just a testament to the band’s unreal command of dynamics, Two Parts Together offers an unfiltered look into the band’s identity through both composition and narrative. Vocalist Joe Galaragga leans into a series of complex topics with the a fearlessness that’s characteristic of the band, anchoring the most ambitious — and loosely experimental — music of Big Ups’ discography with enough tenacity and heart to make Two Parts Together an essential listen.

Fog Lake – captain

Fog Lake‘s been turning heads for some time now, quietly perfecting a warm strain of tender, empathetic ambient pop. Aaron Powell’s project attains a rare beauty on captain, the crown jewel of an incredibly rich discography. Every track exudes patience and attentiveness, layering ambient noise, piano, vocals, and traditional rock instrumentation to conjure up a feeling that resides somewhere between introspection and self-actualization.

captain is yet another emotionally shattering work from Powell, who’s seemingly building a career out of soundtracking personal solitude while dreaming up ways to make sure company’s welcome. An absorbing, immersive listen, captain navigates increasingly murky waters with both grace and clarity, accepting that not every question will have an answer and that every journey becomes infinitely more rewarding once its difficulties have been confronted and either accepted, resolved, or ingrained. A mesmerizing record that ensures Powell’s spot among today’s pantheon of truly great songwriters.

Evening Standards – Evening Standards

Evening Standards‘ self-titled debut comes packed with a pedigree. Forged out of the ashes of PURPLE 7 and a handful of great basement pop acts before that, anything less than remarkable would’ve been surprising but the heights Evening Standards manages to reach are still surprising. Every second of the band’s debut feels incredibly assured, on every front. The members of Evening Standards have all seemingly cultivated their own individual identities as musicians and managed to find a way to congeal them into something exhilarating.

Front to back, Evening Standards is comprised of intentionally loose basement pop that’s a little tongue-in-cheek on the surface but underscored by surprising depth. “Lil Green Man” highlights this dynamic beautifully, by taking a narrative centered on alien visitation and expounding the lark to humbling existential queries. The hooks are memorable and they find ways to dig deep, refusing to let go once they’ve taken hold. A playful romp that exponentially rewards investment, Evening Standards carves out a place for itself as one of basement pop’s high watermarks.

Long Neck – Will This Do?

On Long Neck‘s first record after Lily Mastrodimos expanded the project to be a full band, they waste no time in illustrating the benefits of that decision. On the first half of Will This Do? the band delivers a newfound lightheartedness to the project, offering up a series of summery tracks that ably demonstrate their strength as a collective. Even in those warmer moments, though, Mastrodimos holds true to the more autumnal narratives that characterized the extraordinary work that had comprised Long Neck’s solo era. Towards the halfway mark, the dam starts cracking and the floodgates open for the final stretch.

While Will This Do? boasted some of the most enjoyable — and endlessly replayable — tracks of 2018 in its opening stretch, the record hits a point-of-no-return with the unexpectedly dark “Ashes” and kicks off what may stand as the strongest final act of 2018. It’s over this jaw-dropping set of songs that Mastrodimos drops any pretenses regarding personal struggle and familial loss and favors a brutal, unforgiving directness that strips away the artifice and forces the listener to grapple with both losing and failing.

Those four songs, “Ashes”, “Hive Collapse”, “Milky Way“, and “10,000 Year Old Woman” are the best of Mastrodimos’ burgeoning career and the cumulative impact they leave is unforgettable. While “Matriarch” served as a gorgeous early peak and smart reprieve in the record’s early raucousness, the total reckoning of its closing run manages to tip Will This Do? into an overwhelmingly immersive experience. At the center of the pain evidenced in those closing narratives is a drive to not just survive but celebrate that survival, elevating a memorably great record to something far more transcendent.

Doe – Grow Into It

Some Things Last Longer Than You vaulted Doe‘s status up several levels back in 2016, securing the trio as one of the best basement pop acts making music. This site gave that record Album of the Year honors alongside an exceedingly strong committee. The band toured relentlessly on the back of that record and finally unveiled Grow Into It in 2018’s final quarter, surpassing the anticipation that they’d tirelessly built on the back of their explosive live show and an absurdly strong lineup of touring partners.

Grow Into It is everything anyone can hope for from a follow-up to a breakout album: the retention of identity, a willingness to expand boundaries, a fearlessness in decision-making, strong production, and a tenacious commitment. Brimming with hard-won confidence, the band attacks Grow Into It with the fervor of someone caught up in a fight to survive. Put your back into it/Until you can’t undo it goes a particularly memorable couplet, ostensibly underlining the band’s modus operandi.

A record that seems to accelerate progressively more as it races towards its jaw-dropping closer, Grow Into It finds Doe pouring their heart into their craft. The band wears a number of ’90s influences on their sleeve, churning out slacker pop that recalls that era’s best works. Wildly enjoyable at every step, even as it fixates on harsh issues connected to everything from a tumultuous political landscape to reflections on widely-held and extremely dispiriting views on autonomy, Grow Into It is a record that’s not afraid to speak as loudly as Doe plays. An astounding work from one of our best young bands.

Half Waif – Lavender

Watching my grandmother walk in her garden
She’s lost her hearing, does not notice the cardinal
I hold fast to the hours before the obvious parting

Those lines make up the second verse to appear on Half Waif‘s breathtaking Lavender, a monumental step forward for Nandi Plunkett’s project and an unforgettable artistic statement. A record seeped in the memory of Plunkett’s recently departed grandmother, Lavender soothes and haunts in equal measure. Informed by lost connections and a life dedicated to the road, Lavender takes the listener and actively places them in the passenger’s seat of an extended tour-driven narrative. Immensely moving and intrinsically connected to something spiritual, Plunkett navigates a series of burning questions and hard realizations with an unflappable grace.

Piercing insight is offered with reassuring tenderness throughout Lavender. Cities are yearned for, memories are tightly embraced, and lasting bonds are valued above all else. There’s a quiet desperation that carries throughout the record, the one constant as all the extra scenery flies by the window. In many ways, Lavender plays like a journal chronicling Plunkett’s untethering, providing a startling glimpse into the harsh realities of life on the road. Plunkett’s incisive narration keying in on the moments where the ground seems to separate, creating the sensation of aimless drifting.

Where Lavender separates itself from the many, many records that have tried to anchor their narratives with a similar framing is in Plunkett’s tacit acceptance of the loneliness that accompanies the drifting- any company is better than none. The record also never overstates its realistically tragic circumstances, relying on mundane moments to paint a much more engrossing portrait that allows it to land that much harder. Every facet of Lavender feels considered, allowing the record to be pitched at different velocities of tumult: “Back In Brooklyn” is a song in the key of the MTA while “Leveler” boasts an opening that intentionally isolates Plunkett’s voice into a hushed world of its own.

Forever in transit and full of curious glances outward, Lavender goes far beyond just being an extended meditation on what life reverts to when home becomes the hum of the road and into a towering statement about the nature of journeying. A record that’s sharply aware that there’s beauty to behold just beyond the window, even when the static trappings feel overbearing, Lavender is a work that drives into what makes life worth living. As hard as the tough moments wind up being, there’s a power to those experiences that, when given enough distance, become affirming.

Tough, tender, unforgiving, accepting, shattering, and hopeful, Lavender is a pointed presentation of contradictions, all firmly held in place by Plunkett’s reality. A story that’s been lived countless times finds a new level of poignancy on Lavender, which stands with a determined resilience as one of the most emotionally taxing — and rewarding — listens of 2018. For all of the silent pain that separation can bring, there’s an undercurrent of memory to inform that pain. At the core of Lavender, there’s a wellspring of love and by the record’s murky culmination, there’s a resigned acknowledgement of what that love will bring.

In those final moments, Lavender stops running away from the questions it’s been asking since its opening salvo and reveals a burdened truth: it knew the answer. It’s always known. To leave is to strengthen the effect of love. Whether the departure arrives at the airport or culminates with a wake, there’s a magnified sense of affection, which makes the parting infinitely harder. When that divide is extended, it can become harder still. What matters is that we allow ourselves to admit and how we navigate, how we cope, and how we understand.

The last twist of Plunkett’s narrative-driven knife arrives with so much certainty, after a sea of avoidance, that the effect is staggering. “Ocean Scope” delivers that knockout blow with courage, allowing Plunkett and the listener time to sit, to reflect, to accept, and to heal.

I don’t wanna know this
I don’t wanna know how this ends
In the grand scope of things
I know

ALBUM OF THE YEAR

IDLES – Joy As An Act of Resistance

IDLES made a deep, lasting impression in 2017 with Brutalism, a pointed, scuzz-fueled blast of punk shrapnel. Pop culture was toyed with, progressive stances were belted out like war cries, and there was an abundance of empathy at its heart. All of its disdain was directed at people and policies that knowingly and maliciously take advantage of others, allowing Brutalism a sincere bent to its frustration. Just about every song on that record suggested the band could be fully capable of producing a masterpiece. No one could have predicted it’d come this soon.

A little over a year had elapsed before IDLES pulled back the curtains on Joy As An Act of Resistance a snarling behemoth that took everything that made Brutalism so engaging and multiplied them exponentially. “Colossus”, the first track to be released in advance of Joy As An Act of Resistance and the album opener, makes the band’s transformation plain. The rhythm section that provided Brutalism with quite a bit of its power finds new strength in restraint and focus, following a single chord and rim shot pattern through to a punishing, tribal-like section.

Vocalist Joe Talbot seems to find new life in this mode of attack, elevating his narrative work with unwavering commitment. The pop culture references are more prominent, the target range is significantly wider, and there’s an emotional crux to the lyrics that manages to cut through the wry humor and ground the material in something both personal and poignant. Virtually all of that’s packed into “Colossus”, which ultimately serves as both the catalyst for Joy As An Act of Resistance‘s tone and as a slight reintroduction to IDLES as a whole.

As a cohesive unit, the version of IDLES presented to us on their sophomore effort is tighter, more aggressive, and more exhaustively complete. “Colossus”, “Danny Nedelko“, “GREAT“, and “Samaritans” all suggested the band was operating at a higher level but Joy As An Act of Resistance finds them exceeding even the unlikeliest of high expectations. What ensues after “Colossus” flips a switch and jumps from foreboding tension to an all-out basement punk blitz is the purest distillation of political, social, and emotional commentary that any record in 2018 had to offer.

There’s a blunt honesty to Joy As An Act of Resistance that characterized the best songs of its preceding act but is sustained and felt through even the wryest pop culture jab. The breadth of what Talbot’s willing to tackle here is astonishing, running from the lineage and permeation of toxic masculinity to the shockingly recent stillbirth the vocalist endured with his wife. Loss is a palpable recurrent theme on Joy As An Act of Resistance but it’s never treated as a threat but viewed as further ammunition for a rallying cry against the prevailing evils of our world.

The band’s willingness to confront those pervasive hardships, on both personal and societal levels, and ground them in understatement is one of the major distinctions that separates the songs on Joy As An Act of Resistance from other acts attempting similar narratives. IDLES understand and are extraordinarily adept at reasonably contextualizing the institution instead of fixating on the object; the record’s never ham-fisted or grossly overwrought. In many ways, Joy As An Act of Resistance seems to be a kindred spirit of The Wire: both works understand the value in examining the parts that make up the sum, like how “Danny Nedelko” humanizes immigration by using a good friend — and a stand-up human — as an explicit framework to combat the dispiriting resurrection of nationalist thought.

Which is why when the band finally does scale back down to address something that’s deeply personal, the effect is shattering. “June” arrives at the album’s center and gives Talbot space to publicly grieve over the previously-mentioned stillbirth. The weight of what the vocalist is feeling is on full display, the band slowing the tempo down to a drudge-like march and offers up the record’s starkest, bleakest composition while Talbot opines Baby shoes, for sale, never worn, supplementing his own tragedy with literary history (one of many, many glancing references that supplement the narrative intent).

“Samaritans”, the most explosive song on Joy As An Act of Resistance and this publication’s Song of the Year pick, finds itself sequenced perfectly following the overwhelming despair of “June”. In addition to providing a bridge back to the record’s larger picture, “Samaritans” also ushers in a run of high-energy, immediate tracks that give more weight to Joy As An Act of Resistance‘s first act. “Samaritans”, “Television”, and “GREAT” are the ladder out of the grave that “June” had lovingly dug, ensuring the listener has an expanded understanding of the stakes evident throughout the record.

“GREAT” even provides the most concise clarification of the band’s thesis in its closing lines: we’re all in this together. As always, IDLES preach the value of a healthy community but here that reminder underscores a larger point: empathy is so essential because when it’s lost is when commitment to needless divisions deepens and threatens the foundation of a successful civilization. It’s a trait that’s essential to companionship, to joy, and to contentment. Nothing’s more infuriating than those who seek to devalue the virtues of empathy because beyond being recklessly selfish, it’s also wildly misguided as its a tactic that threatens the foundation of support and without support, nothing survives.

Joy As An Act of Resistance is a record that stares down that level of oblivious stupidity with a scorn that can border on the contempt but it’s also a work that’s smart enough to know those kind of views and the policies that get built around them don’t just suddenly materialize. IDLES understand the deliberately paced history of those movements and know to dismantle them they’ll need to resist by not caving into pure frustration but to offer joy. Even in the extraordinarily destructive final minute, Joy As An Act of Resistance doesn’t give off the sense that not resorting to impulsive violence isn’t an impossible act and that the dismantling of some of the worst this world has to offer is more within reach now than it has been at any point in history.

From virtually every angle, this is the band’s best work by several miles. Whereas Brutalism was a galvanizing triumph, Joy As An Act of Resistance is an inspiring masterpiece. A startlingly impassioned plea to retain our humanity and protect our truest values at all costs. A rousing call to not just embrace the good in life but to fight against the forces that serve as their threats while still having as much goddamn fun as possible. “June” is as stark a reminder as any that the time we have to experience the best this current world has to offer is fleeting.

No record in 2018 sounded more like a knowing smile paired with a middle finger and that’s a remarkably tough line to balance. IDLES deserve all the acclaim in the world for what they accomplished with this one, earning a devoted following that knows it’ll be wise to hang onto every word coming out of the band’s camp. More than just a record that represented the chaos of 2018 the best, Joy As An Act of Resistance was 2018’s best. A rare work of unparalleled feeling, IDLES can now lay claim to one of the young millennium’s strongest works. Leave this on repeat, we might need the guidance.

 


Further Listening: Forth Wanderers – Forth Wanderers | Tomberlin – At Weddings | Options – Vivid Trace | Stove – ‘s Favorite Friend | Camp Cope – How to Socialise & Make Friends | Momma – Interloper | Basement Revolver – Heavy Eyes | Dentist – Night Swimming | Dilly Dally – Heaven | Mount Eerie – Now Only | En Attendant Ana – Lost and Found | The Magic Lantern – To the Islands | Dead Tenants – II | Valley Maker – Rhododendron | Curling – Definitely Band | Whitney Ballen – You’re A Shooting Star, I’m A Sinking Ship | Royal Brat – Eyesore | Hovvdy – Cranberry | Yowler – Black Dog In My Path | Black Belt Eagle Scout – Mother of my Children | The Sidekicks – Happiness Hours | The Royal They – Foreign Being | Bent Denim – Town & Country | Fucked Up – Dose Your Dreams | Daughters – You Won’t Get What You Want | Screaming Females – All at Once | Hank Wood and the Hammerheads – Hank Wood and the Hammerheads | Fred Thomas – Aftering | Pipsy – Users | No Problem – Let God Sort ‘Em Out | Jeff Rosenstock – POST- | Speedy Ortiz – Twerp Verse | Jean Grae & Quelle Chris – Everything’s Fine | sewingneedle – user error | Connections – Foreign Affairs | Sean Henry – Fink | Flasher – Constant Image | Winter – Ethereality | Spring Onion – i did my taxes for free online | Ben Seretan – My Life’s Work | gobbinjr – Ocala Wick | Trace Mountains – A Partner to Lean On | Gia Margaret – There’s Always Glimmer | Vundabar – Smell Smoke | milo – budding ornotholigsts are weary of tired analogies | Major Murphy – No. 1 | Puppy Problems – Sunday Feeling | The Goon Sax – We’re Not Talking | Say Sue Me – Where We Were Together | Peel Dream Magazine – Modern Meta Physic | Alien Boy – Sleeping Lessons | Peach Kelli Pop – Gentle Leader | Woolen Men – Post | Antarctigo Vespucci – Love in the Time of E-mail | Julia Holter – Aviary | Interbelum – Dead Pets, Old Grief | Yours Are The Only Ears – Knock Hard | Free Cake For Every Creature – The Bluest Star | Adeline Hotel – Away Together | Marbled Eye – Leisure | JACK – Alchemical Rounds | Renata Zeiguer – Old Ghost | Doffing – Tower of Ten Thousand Miles | Anna McClellan – Yes and No | Rick Rude – Verb For Dreaming | Clearance – At Your Leisure | Superteen – Over Everything | Bambara – Shadow on Everything | The World Without Parking Lots – Seventh Song Counts the Engines | Jo Passed – Their Prime | Mutual Benefit – Thunder Follows the Light | Flasher – Constant Image | Drug Church – Cheer | Wimps – Garbage People | Young Scum – Young Scum | GABI – Empty Me | Rolling Blackouts Coastal Fever – Hope Downs | No Age – Snares Like A Haircut | Exhalants – Exhalants | Bat Fangs – Bat Fangs

Watch This: The Best of 2017’s First Quarter, Pt. IV

In the final segment of the Watch This revival spread, the focus — as it was in part three — continues to be placed on sessions that deserving artists did for quality outlets. Only this time around, the sessions aren’t encompassed into one video, they’re sliced up into individual clips, which have been strung together here for the sake of expediency. While the video counter may show a very intimidating 71 for the amount of videos featured, it’s really only 25 performances (with most being only two or three songs overall). Even if it’s unlikely that someone will find the time to watch through every last one of these clips, there’s an equally likely chance that someone may wind up finding a new favorite band or song. All of it’s worth exploring to a great extent and each clip — and performance — deserves praise. So, as always, sit up straight, adjust the settings, take a deep breath, lean in, focus, and Watch This.

PART IV

1. Cloud Nothings (KCRW)
2. Screaming Females (Moschcam)
3. Fraser A. Gorman (World Cafe)
4. Hazel English (KCRW)
5. NE-HI (JBTV)
6. Sad13 (Paste)
7. Heat (Indie88)
8. Potty Mouth (JBTV)
9. Ovlov (Little Elephant)
10. The Regrettes (Jam in the Van)
11. Ron Gallo (World Cafe)
12. Stef Chura (Paste)
13. Nnamdi Ogbonnaya (Audiotree)
14. Diet Cig (Paste)
15. Hockey Dad (Moshcam)
16. Slaughter Beach, Dog (Little Elephant)
17. Death By Unga Bunga (Paste)
18. Slow Mass (Audiotree)
19. Lady Lamb (Paste)
20. AJJ (Little Elephant)
21. Jesca Hoop (WFUV)
22. Ratboys (Little Elephant)
23. Alejandro Escovedo (WFUV)
24. Kate Davis (ONE ON ONE)
25. Strand of Oaks (World Cafe)

A Two Week Toll: Music Videos

Continuing on with the precedent set by the previous post, everything here is designed to celebrate some of the best releases of the past two weeks. This time around, the emphasis falls to music videos. There’s an incredibly expansive array of material to be discovered via the links below. Click through some of the titles or bookmark this page and click through everything, there’s a very good chance a new favorite’s waiting somewhere in the wings. Enjoy. 

Boytoy, Menace Beach, Petal, Big EyesFake Palms, The Tuts, Jay Som, Hovvdy, Eyelids, Tacocat, Toys That Kill, Emilyn Brodsky, Priests, YJY, Weyes Blood (x2), Pumarosa, Computer Magic, Banana Split, Midnight FacesKraus, Wyatt Blair, Johanna Warren, Aidan Knight, Jayle Jayle, The Faint, Chromatics, Soft Fangs, Berwanger, WALL, Xenia Rubinos, Scully, Shura, Cass McCombs, Mile Me Deaf, Duchess Says.

PillMatt Kivel, San CiscoHalfsourWoods, VacationJoan of Arc, Womps, Slow Mass, Kvelertak, Slow Club, Alex Izenberg, Amber Coffman, Nick Waterhouse, Balto, Hurry, Navy GangsIzzy True, MarineSavoy Motel, Mutual Benefit, Balcanes, The Dandy Warhols, Yellow DaysThe WharvesMadeline Kenney, livThe Dirty Nil, Joyce Manor, Mutts, Ex Reyes, Big SmokeGloria, Earwig, and RF Shannon.

Mannequin Pussy – Romantic (Stream)

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There were outstanding music videos from Potty Mouth (which very nearly claimed this post’s feature spot), Jeff Rosenstock, WL, Haley Bonar, No Nets, T-Rextasy, Public Access TV, Tom Brosseau, NOTHING, Cass McCombs, Candy, Sargent, Maxwell Drummey, This Is The Kit, and Jonny Fritz to emerge over the past 48 hours. Joining those clips were quality full streams that came courtesy of Hiding Place, Mozes and the Firstborn, Slow Mass, Dust From 1000 Yrs, Wovenhand, BLKKATHY, and Whiskey Myers. All of them deserve all of the attention that they’ll inevitably receive but today’s featured spot falls to an old site favorite: Mannequin Pussy.

Following some seriously impressive turns at the start of their career, Mannequin Pussy have hit an astonishing career high with “Romantic”. Opening with a surge of unexpected momentum amid a wall-of-sound shoegaze-friendly opening figure that seems intent on decimating in its path, the band suddenly veers back into a section that’s more delicate than anything in their discography (so far, at least). What follows is a back-and-forth battering ram of dynamic dichotomies in both the music and the narrative.

“I get along with everyone I meet, I’m so sweet” is the unassuming opening line of “Romantic”, which sets an uncertain tone that quickly fixates on much darker undertones. There’s a desperate, pleading moment before the chorus that brings the dramatic stakes of the narrative to light and once the intentions of the band’s statements become clear, the music gains a staggering amount of force. While the narrative hits upon some difficult subject matter, the emotive backdrop of the vocal delivery and instrumental figures never lose themselves to easy trappings. It’s a deeply impressive work from a young basement punk band that’s been finding exciting ways to surprise their audience. If “Romantic” is any indication, that audience should be getting a whole lot bigger in the very near future.

Listen to “Romantic” below and pre-order the record here.

À La Mode – Total Doom (Stream)

a la mode

Tuesday saw the release of a slew of notable streams from Francie Moon, Cross Country, Left & Right, Kevin Devine, Curse of Lono, Sighs, Springtime Carnivore, Wovenhand, Avid Dancer, Communions, Peeling, Slow Mass, Bellows, Savoy Motel, and Dangers. In addition to that bounty, there were some strong music videos arriving from the likes of Adir L.C., Dust From 1000 Yrs, Bunny, Sam Evian, Joan Shelley, and Minden. A pair of excellent full streams in Sex Stains‘ self-titled and Skyjelly‘s package product were just the cherry on top.

While many of those acts have earned praise from this site in the past, today’s feature — once again — falls to a group of fresh faces. À La Mode only have one self-titled EP to their name but are prepared to change that in the very near future. Following their 2014 self-titled effort, the band’s made some enormous strides forward and arrive completely revitalized with the first single, “Total Doom”, from their forthcoming debut full-length, Perfection Salad.

Opening with an electronic, dance-ready beat turns out to be somewhat of a misdirect with the band throwing their weight into a more traditional setup after the introduction. At no point does the band lose the sense of fun it established at the top, though, and when the synth returns for the chorus it gives a remarkably bleak sentiment an abundance of life. Longing is a well-worn topic but what makes it a continuing source of fascination is that it can be tailored to match their author’s individuality. Here, chronic unrequited longing is given a bedfellow in all-consuming doom.

The dichotomy of vibrancy and gloom is crucial to the track’s success and helps “Total Doom” become an immediate standout. Exceptionally clever songwriting can go a long way in securing longevity and À La Mode offer it in excess for a little over two minutes. From those deceptive opening bars to the damaged, weirdly triumphant closing moments, “Total Doom” is nothing less than an exhilarating breath of fresh air.

Easily one of the most pleasant surprises of recent memory, À La Mode have set an extraordinarily high bar for their upcoming record. If that record comes anywhere close to achieving the peaks they do on “Total Doom”, they’ll have one of 2016’s most inspired records. In any respect, they’ll be a band to watch as the year goes forward. Until then, the best thing to do is to celebrate the overwhelming strength of “Total Doom” and give in to its considerable charm.

Listen to “Total Doom” below and keep an eye on this site for more updates on Perfection Salad.

LVL UP – Hidden Driver (Stream)

LVL UP II

Another Tuesday, another slate of astounding new tracks fighting for a feature spot. Little Kid, Soccer Mommy, Hypoluxo, Dinowalrus, The Westerlies, Pavo Pavo, Chris Farren, The Cut Losses, YJY, Slow Mass, The Alpacas, Luxury Death, Bring Prudence, and Touché Amoré (which features a lovely, unexpected turn from guest vocalist Julien Baker) were all in on the action. As ridiculously strong as all of those were, the bulk of the attention will fall to site favorite LVL UP‘s explosive “Hidden Driver”.

Coming on the heels of “Pain“, “Hidden Driver” continues the bold expansions that the quartet’s promised for the forthcoming Return to Love. Right from the onset, “Hidden Driver” is able to assert itself as a beast of a different sort for the band, deftly combining the aesthetics that define their compellingly rough-hewn demo collections and their polished studio work. As the song begins to pick up its ferocity, a synth line becomes increasingly prominent, giving the whole affair an extra touch of vibrancy.

Guitarist/vocalist Dave Benton anchors this contribution, providing a healthy dose of his enviable songwriting gifts and applying a sense of tenacious urgency in the process. Leaning heavily on the spiritual realm for the narrative, Benton gets off one of the most memorable couplets of his career with “God is peaking, softly speaking.” It’s a moment of contemplative euphoria that bristles with life, even as it stares down the barrel of mortality.

All of “Hidden Driver” comes across as one of the most focused things the band’s ever assembled, simultaneously drawing from established patterns and a willingness to explore the unknown (a trait that manifests in both the musical composition and lyrical narrative). The band’s rhythm section has rarely sounded as aggressive as they do in the song’s vicious main section, which culminates with some of the most effective guitar work of LVL UP’s entire discography.

As “Hidden Driver” ultimately dissolves into ambient noise, the anticipation for Return to Love grows stratospheric. “Pain” and “Hidden Driver” on their own have constituted two of 2016’s strongest turn-ins while both hinting at the breadth of the quartet’s broadening scope. If the rest of the record can live up to the precedents set by the first two glimpses, Return to Love will confidently stand as one of the year’s best records. All that’s left to do is wait and put “Return to Love” on repeat.

Listen to “Hidden Driver” below and pre-order Return to Love from Sub Pop here.

Wicker Park Fest 2016 (Pictorial Review)

Spaceblood II

A few weekends back, Chicago quietly hosted one of the most stacked festivals of the summer. While Pitchfork (understandably) got the bulk of attention, it was Wicker Park Fest that offered the best deal. For a suggested $10 donation, any interested parties could explore a wide variety of vendors and take in three stages worth of acts like Diet Cig, The Coathangers, PUP, Yeesh, Pile, Jeff Rosenstock, The Mountain Goats, Rocket From the Crypt, Ought, Alvvays, Cloakroom, Bad Bad Hats, and so many more.

I arrived late into day one, hoping to catch the end of The Sidekicks’ set. By the time I’d entered the grounds, the band was already packed up and the weather had begun to turn ominous. Less than ten minutes into walking through the gates, a torrential downpour erupted and caused several attendees (myself included) to take shelter in the warm, familiar confines of Reckless Records.

It was a surreal scene inside the store with people lined up to see the storm demolishing vendors’ tents outside, Christmas music being played over the store’s system, and people frantically checking for updates on the status of the festival. For a brief moment, the power went out. No one was sure what the next steps would be and nearly everyone was keeping their fingers crossed for the storm to blow over definitively enough to allow for the scheduled headliners sets.

Fortunately, the storm did wind up receding and, as a result, I got to catch an abbreviated six-song set from Jeff Rosenstock (one of the highlights of the festival, even in that small window) and a solid set from The Mountain Goats. While there were some sound issues that plagued The Mountain Goats set, there wasn’t much else to complain about. Both acts were very tight (particularly Rosenstock, whose entire band played with the kind of explosive, pent-up energy that seemed to be as cathartic for them as it was for the audience) and either won the crowd over, played into their hands, or both.

After arriving well before any of the stages hosted any bands on day two, it was easy to see that storm from the preceding night hadn’t dampened the festival’s spirit. One of the School of Rock acts officially kicked things off, alternating members and making their way through a set of crowd-pleasing covers. Not too long after they’d begun, KO took the south stage and unleashed an inspired set that created more than a few converts while sounding spectacular in an outdoor festival setting.

While all of that was happening outside, Double Door was wisely hosting the ancillary Fuck Fest, which featured more than two dozen bands, inside. The venue exists inside of the festival grounds, allowing Fuck Fest to take on new life. When the heat and humidity started bordering the unbearable, Fuck Fest offered a nice reprieve from the swirling mass of bodies outside while still offering up a solid selection of (mostly local) acts.

At Zero was the first band I managed to catch at Fuck Fest and they tore through a tightly-wound set on the main stage that energized the crowd inside the venue. Right outdoors on the south stage, Spaceblood was confidently making their way through a set that drew in a large crowd, heavily featured a merchandise hype man (who promoted the band’s salsa, handed out chips, and threw out Ziploc bags of a terrifying substance called “space goo” which children were warned not to eat), and left the bass/drum duo — who are heavily inspired by Lightning Bolt — understandably exhausted.

Kodakrome was up next on Double Door’s basement stage and the duo-turned-trio did not disappoint. Last year the band put out an extremely promising demo and later expanded those two tracks into a full-blown EP. They’ve been hard at work ever since and their dedication shows in a live setting. Guitarist/vocalist Aaron Ehinger’s a commanding stage presence, exuding a confident calm that manages to be at odds with the band’s hyper-spastic approach to basement punk but also somehow fits perfectly.

Several yards from Double Door’s entrance, The Brokedowns were flying through a powerful set and reaffirming their status as one of Chicago’s great punk bands. Nothing was off limit for their banter, either, which was highlighted by an extended riff about the Costco communion wafers (which were thrown into the audience). As the band kept their charge lively, Bad Bad Hats were finding their groove across the festival grounds on the south stage. The trio’s Psychic Reader was one of 2015’s most pleasant surprises and the band more than lived up to that record’s irrepressible charm in the live setting.

Towards the end of Bad Bad Hats’ set, site favorites Cloakroom were launching into their own set at full power. Slow, heavy, and smothering, the trio were undoubtedly a force but couldn’t help feeling a little out of place in the sweltering midday heat (they’re best suited for darkness). Slow Mass kicked off the proceedings at the center stage (which had been outright cancelled on day one, following the storm) with gusto, blazing through an impressive set of hairpin turns and overwhelming tenacity.

Anyone that frequented this site in 2015 more than likely saw a sizable amount of coverage dedicated to Diet Cig‘s live show and the duo were in exceptional form down at the south stage. Guitarist/vocalist (and principal songwriter) Alex Luciano is now running her telecaster through a split amp system and the additional heaviness rounds the band’s sound out nicely. They tore through old favorites and a select handful of incredible new material (with the obvious highlight being their first “slow jam”) and brought all of the rambunctious energy that’s turned them into unlikely critical darlings.

Not too long after Diet Cig’s powerhouse set, another vicious storm intruded on the festival and made its presence known with an unexpected vengeance. Before long, the wind had hit a velocity powerful enough to literally derail a train from the blue line. As vendors were watching their tents get lost to the wind, Fuck Fest found a new influx of fresh blood due to the inclement weather. Inside Emporium, there was a power outage. Inside the Double Door, Montrose Man were turning all kinds of heads in the basement with an extraordinary set that posited the trio as one of Chicago’s finest emerging acts and a very real candidate for the city’s next breakthrough success story.

Pinto saw the audience inside Double Door grow close to capacity and impressed most of the new arrivals with a sound that fell somewhere between Joy Division and Manchester Orchestra. The band provided a nice moment of grace to a growing amount of anxiety among concerned festivalgoers who were keeping a wary eye on the storm that was threatening to derail more than just blue line trains. Fortunately, for just about everyone, the weather cleared. Unfortunately, the set times for PUP, Pile, Yeesh, and more became casualties of the maelstrom that seemed poised to decimate the festival.

Alvvays and Ought headlined the center and south stages at nearly simultaneous times. As maybe the most intense scheduling conflict of the entire festival, the prospect of Ought on a small, outdoor stage won me over to their side (as well as a well-documented love for the quartet). The band rewarded that decision with a set that unfurled in rapid succession, hitting an apex as “Men For Miles” practically bled into “Beautiful Blue Sky” (which was one of this site’s picks for the best songs of 2015). They sounded tight and seemed relieved to be playing after getting a scare from the weather as well as dealing with travel cancellations, delays, and a series of other mishaps. I think I can speak for their crowd when I say that we were happy they got to play as well.

Shortly after the band wrapped up “Beautiful Blue Sky”, I went over to the swirling mass of bodies that had set up camp in front of the south stage for Alvvays, whose winsome penchants were on full display. The band were mixed beautifully and played with an easy confidence that only served to make them even more impossibly likable. After a few songs, I turned back to Ought and caught strains of the band hitting a climactic moment, spurring me towards the band with a fervor before the opening notes of “Archie, Marry Me” stopped me in my tracks.

Caught between Ought getting swept up in the moment and Alvvays’ seemingly perfect rendition of one of the best songs of this current decade, it became the definitive moment of what makes festivals like Wicker Park Fest so beautiful. For little cost, the organizers managed to further enliven local institutions and give back to the area by facilitating extraordinary examples of what can be accomplished with the right beliefs. Around every corner, there could be something unforgettable happening. No matter which direction anyone turns, it’s easy to find victories on a multitude of scales. Even caught between those moments can provide a level of gratitude and clarity that no amount of money could purchase.

As Ought and Alvvays both tore down, Fuck Fest was still going strong inside Double Door. At that point in the night, the festival started leaning even more heavily towards their emo-leaning acts (a trait that seemed to be a common running thread) but still found a way to offer plenty of variety. Of all of the bands that I managed to catch in the aftermath of Wicker Park Fest, legitimate standouts came in the form of Typesetter, whose emphatically-mean-every-word set felt refreshingly sincere and provided the band with a well-deserved spotlight moment. Easily one of the strongest post-Wicker Park Fest sets belonged to Salvation, a noise/punk trio that skyrocketed the levels of energy, feedback, and general viciousness.

Of everything that I saw during the festival’s run nothing was more impressive than the moment Salvation’s bassist (who looked to be several years older than the other two members) found his foot catching the load-in steps of the stage at an angle that sent him somersaulting backwards down the small staircase, bass in tow. He never stopped playing. After the fall, he righted himself (still attempting to play as the cable cut in and out), stormed back up to the stage, and began swinging his bass around in an effort to create as much noise as possible. The song ended, staff and audience alike made sure he was okay, the cable was replaced, and the band carried on like nothing had happened.

A few songs later, Salvation were done and I was too exhausted to continue. The band had provided a perfect, chaotic ending to a weekend full of sudden changes, ambiguous directions, and oscillating levels of comfort. They’d also given one of the best sets of the two days. Feeling fully satisfied and more than a little overwhelmed, it felt like the perfect time to end a weekend full of challenges, madness, nerves, and inspiration. See you next year, Wicker Park Fest.

Look through a gallery of the festival below and keep an eye on the Heartbreaking Bravery YouTube channel for live captures from the festival.

 

 

Glueboy – Yikes (Album Review)

Glueboy XXI

The past few Friday’s haven’t offered much in the way of new material but this week proved to be an exception, gifting the world new tracks from Earth Girls, Anti Pony, JEFF The Brotherhood, Slow MassSLØTFACE, Kindling, Emma Ruth Randle, Looming, Divan, Sheer, Criminal Hygiene, Raury, Buzz Kull, Gothic Tropic, The Raveonettes, Scarlett Saunders, Banks & Steelz (ft. Kool Keith), Sharks Teeth, and Bueno. Additionally, there were full streams from Steve Adamyk Band, Eric Slick, Hollow Sunshine, and an entrancing music video from Massive Attack.

While all of those proved to be worthy titles, it’s Glueboy‘s sophomore full-length debut, Yikes, that earns this post’s featured spot. Following two promising releases, the band fully capitalizes on their potential and lets loose from the record’s onset with the fiery “Foot Soldier”. After a deceptive 40 second buildup, “Foot Soldier” takes off at full sprint and from that moment forward, Yikes never looks back.

Importantly — and largely thanks to the mixing and mastering team of Flagland‘s Nick Dooley and Big Ups‘ Amar Lal — this is the best Glueboy’s ever sounded on record. Following 2015’s impressive Videodrama EP, the band sounds revitalized, attacking every square inch of these songs with a newfound conviction. It’s a trait that’s evident from Yikes‘ opening run of songs and that sense of galvanization never wavers. Whether it’s guitarist/vocalist Jonathan Marty’s frantic, deeply-felt vocal work, bassist/vocalist Coby Chafets’ increasingly sharp lyric sets, or the additional sense of purpose that seems to have elevated Eli Sills’ drumming.

Everything clicks, congealing into a whirling dervish of a record that feels volatile and grounded simultaneously. Even when the band’s being boldly transparent in their influences (the vocal pattern and general construction of “Telescreen”, for example, is incredibly reminiscent of Titus Andronicus’ “Dimed Out“), there’s a genuine spark behind their playing that essentially erases any room for complaint. Helping matters along is that those moments are few and far between, allowing the rest of Yikes to firmly establish the band’s own singular identity.

Yikes also winds up benefiting from its members’ intrinsic musicality [disclosure: I lived with Chafets for half of 2015 and had several opportunities to join in jam sessions with all of the band’s members] and their comprehensive understanding of their chosen genre. Taken as a whole, the level of musicianship Marty, Chafets, and Sills imbue Yikes with is incredibly impressive, conjuring up levels of energy that oscillate but never come anywhere close to stagnancy.

Helping Yikes maintain its pace is the fact that only two of the songs eclipse the three minute mark, keeping things lively. Nearly every song in the collection comes in at a furious tempo, with the band seemingly intent on finding catharsis through destruction. Remarkably, the trio seems to actually achieve that goal at nearly every turn. Personal confessions, declarations, and half-buried desires litter Yikes‘ narrative landscape and breathe an additional level of life into the proceedings, coming to a climactic moment that serves as the record’s finale.

At the end of “Falling Down” everything finally threatens to go off the rails for good, splintering apart into near-chaos as the band lays seemingly everything on the line. Chafets (who trades vocal leads with Marty throughout the record) screams his larynx raw in the song’s closing passage, with the band around him erupting into a hardcore spree before cutting out abruptly. It’s an extraordinary ending to a record that should prove to be monumental to the band’s evolution as well as their reputation. Earnest, uncompromising, and endlessly fascinating, Yikes is more than just a much-needed jolt of pure basement pop adrenaline- it’s one of the year’s best surprises.

Listen to Yikes below and pick up a copy here.