Heartbreaking Bravery

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Tag: stream

Doe – Grow Into It (Album Review, Stream)

Just a few years ago, Doe released Some Things Last Longer Than You, an incredible record that made good on the promise of their early work and wound up as a joint selection for this site’s 2016’s Album of the Year. Since then, they’ve been touring relentlessly with an extraordinary cast of bands that have allowed Doe’s profile to continue an ascending pattern. Grow Into It, the trio’s latest album, finds them full of confidence, charisma, and conviction.

The record’s their first effort for both Topshelf (who will be releasing the record in the US) and Big Scary Monsters (who will handle the UK distribution) and the opening run of tracks makes it plainly clear why both labels came on board. Doe have expanded their ambitions, refined their songwriting, and seem more willing to take the kind of risks that can yield important dividends. The pace is a little slower, the tone’s a little more casual, the instrumental palette’s broadened, and somehow Grow Into It surpasses the intensity of their previous effort.

A synth props up “Labour Like I Do” and bleeds into “One At A Time”, which is augmented by guitarist/vocalist Nicola Leel‘s most tender vocal delivery to date and a gorgeous fingerpicked acoustic guitar figure. It’s part of a recurring trend throughout the record of connected nuance, lending the record a sense of completion. The narratives are still laced with Leel’s sardonic wit and wry observations, only this time they’re held up by repeated calls to action. It’s a decision that grants Grow Into It a greater immediacy, allowing it to read as a pointed reaction to a frequently disheartening political climate.

It’s easy standing still goes the refrain of “But It All Looks the Same” — far and away the record’s boldest track and most significant departure from the band’s older material — offering up a reassurance in the middle of an incredibly charged record. It’s an acknowledgement of a communal struggle, the sense of difficulty that can lead to complacency, and the importance of resisting the urge to stand still, making the lead-in to the record’s lead single, “Heated“, doubly effective.

By the record’s final stretch, its clear that Doe are presently as concerned with what questions to ask as they are with the difficult answers those questions demand. Some of these questions exist in the micro, like reflections of self-worth (“Even Fiction”) that can be extrapolated to a larger picture. There are stakes at play and Grow Into It makes a decision to not shy away from the kind of decisions that define our humanity. Despite the considerable weightiness of the lyrics, Grow Into It as a record remains one of the most consistently enjoyable listens throughout its run time.

At every turn, Doe matches introspection with clever, thoughtful, and grin-inducing arrangements that keep Grow Into It a vibrant record, tethered to a wellspring of life that’s genuinely affirming. For all of its subtle intricacies and attention to detail, there’s never a point where Grow Into It feels burdensome, which is a testament to its empathy. Moreover, the band’s never sounded so inspired as musicians, offering up a record of career-bests across the board in terms of structure, dynamics, and lyricism.

Doe may have had a strong grasp on their identity as early as their first year together as a band but that sense of self can get challenged. Grows Into It finds Doe doing just that; this is a band that knows the path to becoming the best version of themselves. Grows Into It is the wild, genre-marrying soundtrack to accompany that journey. Easily one of 2018’s strongest records and a potent reminder of Doe’s seemingly limitless strength. A modest masterpiece.

Listen to Grow Into It below and pick it up here.

Two Months, 12 Records

Over the past two months, hundreds of good records have found release. This post takes a look back at a dozen of the most notable titles in that crop. A handful of site favorites make appearances here, with the styles ranging from gentle folk subgenres to incredibly volatile brands of explosive strains of punk. A few records choose to cast their sights on hope, while others embrace an unrelenting heaviness. All of them, of course, are worth owning. Explore, listen through, and find ways to support the records that connect.

Saintseneca – Pillar of Na

A band that has yet to put out a bad record keeps that trend alive with Pillar of Na. Even with a slight lineup change (Maryn Jones parted ways with the band after relocating to the East Coast), Saintseneca‘s identity shines through on another album that finds the band embracing a more prominent Eastern influence within their Appalachian Folk-informed music. Pillar of Na also feels even more contemplative and complete than the band’s previous effort, Such Things, which is a point driven home by near-circular bookends. Not a false note from start to finish, Saintseneca’s records remain an immense joy.

Options – Vivid Trace

When post-punk and basement pop exist in harmony, the results typically range from good to incredible. Options’ Vivid Trace makes it abundantly clear from the opening salvo onward that this is a record — and a band — that skew towards the latter. Masterfully composed, produced, and sequenced, Vivid Trace is an important reminder of the potential of a niche subgenre that has direct ties to this site’s very roots. Vivid Trace is the exact type of album that Heartbreaking Bravery was built to celebrate: an astonishing work from a band fighting an uphill battle for greater recognition.

Lonely Parade – The Pits

A trio of advance singles suggested that Lonely Parade may have a legitimate Album of the Year contender on their hands, especially within the realms of energetic post-punk. The Pits confirms those suspicions with emphasis. Every song on the record’s teeming with ferocity, hooks, charisma, and conviction, as if the band’s been allowed to unleash all of their unchecked aggression. It’s that sense of purpose that makes how refined The Pits ultimately winds up being even more impressive. Lonely Parade intentionally take the train off the rails and treat us all to an unforgettable ride.

Fred Thomas – Aftering

Billed as the final installment of an ongoing trilogy of records, Fred Thomas delivers another record that cements his reputation as one of today’s most thoughtful songwriters. Aftering, Thomas’ latest, also finds the songwriter collaborating with contemporaries far more than usual, a decision that reflects on some of Aftering‘s narrative themes (especially the importance of support structures). As is always the case with a new Fred Thomas release, a few career highlights are thrown in, ranging from sunny, fast-paced basement pop to devastating ambient ballads shot through with a wealth of longing and regret. Being alive brings us to the peaks of joy and cycles us through unimaginable pain but Aftering is good company to keep no matter where the hammer falls.

Waxahatchee – Great Thunder

Ever since American Weekend began Katie Crutchfield‘s transition from a DIY circuit staple to an internationally beloved voice, Waxahatchee has picked up an increasing amount of scrutiny. Curiously, Great Thunder — Crutchfield’s project with Keith Spencer (formerly of Swearin’) — managed to get lost in the wake. The duo released two lovely records, before retiring the project, leaving behind some of their best work. Waxahatchee’s latest release pays homage to that project and Crutchfield’s roots as a songwriter, rescuing some of the project’s standout material to present in a new light. Great Thunder winds up as one of Crutchfield’s warmest releases as a result, rendering the EP unmissable.

The Sofas – Nothing Major

The Sofas proudly wear their influences on their sleeve from the very jump of Nothing Major, which immediately recalls Sonic Youth’s most pop-leaning moments in their Rather Ripped era. Fortunately, those influences never threaten to overwhelm the proceedings, each track standing firmly on its own, letting the record stand as a collection of noise-leaning, feedback-heavy basement pop triumphs. Every song on Nothing Major has addictive qualities, striking the perfect balance between an influx of energy and an incredibly present sense of melancholy.

Mutual Benefit – Thunder Follows The Light

In 2015’s “Not For Nothing”, Mutual Benefit can already claim one of the present decade’s best songs. Anything any artist does from that point forward comes with great expectation and Thunder Follows The Light renders those expectations meaningless. Every song is guided with the same gentle hand, infused with the same sense of calm and tacit understanding that allowed the project’s earlier works to thrive. Every gorgeous, mesmeric second on the record seems to instill a sense of peace, making Thunder Follows The Light a deeply important record in the face of today’s overwhelmingly combative climate.

Whitney Ballen – You’re A Shooting Star, I’m A Sinking Ship

The debut record from Whitney Ballen‘s one of many releases on this last that grapples with a challenging dichotomy. What sets You’re A Shooting Star, I’m A Sinking Ship apart from those releases is its operative velocity. A breathtaking record in the truest sense, You’re A Shooting Star, I’m A Sinking Ship finds Ballen grappling with deeply uncomfortable truths, desires, and impulses, while delivering compositions that suggest lighter material. Imbued with genuinely shocking moments, a masterclass in sustained dynamic tension, and a sense of steady control amidst an expressed sea of uncertainty, Ballen’s released one of the year’s most unforgettable records.

Dilly Dally – Heaven

One of 2018’s most heartening moments came in the form of Dilly Dally‘s self-resurrection. The band opened up about their own difficulties recently and Heaven is their testimonial offering of those challenges and where they’ve arrived as a band: reborn and with a renewed sense of purpose. Desire was a record that embraced the ugly and the damaged as beautiful, with a suggested distance between the band and those observations. Heaven reframes that dynamic and positions the band dead center in a brutal storm of reckoning, staring out at a sliver of light on the horizon, knowing that the ruins of the world will be theirs for the taking.

LOOSE – Haircut 

A relatively new band to this site, LOOSE nonetheless make a sizable impression with Haircut, an extremely impressive record that finds them tethering together strains of math rock, emo, basement pop, noise-punk, and bedroom pop. It’s an endlessly fascinating listen that never wavers in its surging momentum, anchoring ambitious compositions with relatable narratives. Head-turning in the best sense, Haircut suggests a wealth of talent and an abundance of promise reside in LOOSE. Unpredictable and unexpected, Haircut is an extraordinarily pleasant surprise.

Puppy Problems – Sunday Feeling

Sami Martasian‘s Puppy Problems project has been going for quite some time now, steadily evolving over the years while gaining a small cult following. All of those lessons come to a head on the project’s debut record, Sunday Feeling. As always, Martasian proves to be a commanding lyricist, waxing poetic on meditations about what it means to be a young adult today. Gorgeous folk-leaning bedroom pop compositions abound, echoing traces of (SANDY) Alex G‘s quieter works while containing enough personality to stand on their own. It’s an impressive record from a project that deserves an expanded audience.

Advance Base – Animal Companionship

Owen Ashworth’s projects have an infamous penchant for tapping into a sense of overwhelming sadness to create work that ultimately winds up life-affirming. Animal Companionship, Ashworth’s fourth effort as Advance Base, sees this formula ringing especially true. Corpses, both literal and metaphorical, riddle the record’s landscape, with an emphasis on pets. Throughout, Ashworth turns in the best work of an illustrious career, reaching something so human and so intangible that Animal Companionship can momentarily become a difficult listen. In the end, the journey becomes worthwhile, and Animal Companionship stands proudly as one of 2018’s finest, most moving records.

 

 

 

Two Months, 12 Songs

Nearly two months have come and gone since the last true feature article was published on these pages. In that time, thousands of good songs have found release, hundreds of records have made varying impressions, and more than a few music videos managed to snag viewers’ attention. This post looks at a dozen of the finest songs to have come out in that time, from names new and familiar. Dive in below.

Charly Bliss – Heaven

Last year’s pick for this site’s Album of the Year distinction recently made an unexpected return on the back of standalone single “Heaven”, which guitarist/vocalist calls the band’s first attempt at a genuinely hopeful look at romantic love. The band balances that optimism out with one of the heaviest and darkest-sounding songs of their emergent career, demonstrating the band’s range and understanding of overarching dynamics. Exhilarating and powerful, “Heaven” is a welcome reminder of Charly Bliss‘ limitless appeal.

Stove – Mosquiter 

In 2015, Stove walked away with this site’s Song of the Year distinction for “Wet Food”, which remains one of the finest songs of this decade. The band’s been relatively quiet of late, which is understandable considering the re-emergence of Steve Hartlett’s other project, Ovlov. Both Ovlov and Stove had new material planned for 2018 and “Mosquiter” is the first look at Stove’s forthcoming ‘s Favorite Friend. “Mosquiter” is a perfect example of what makes Stove worth celebrating, blending painfully relatable experiences into songs that swirl, seethe, and soothe. In short: it’s life-affirming.

Cloud Nothings – Leave Him Now

Cloud Nothings have developed an astonishing level of consistency, something that should be abundantly clear by the time anyone hits play on “Leave Him Now”. Even with that said, it would’ve been hard to predict the explosiveness of “Leave Him Now” which surges through its run time with the tenacity of the band’s best work. It’s a continuation of a recent trend for the band, acting as something of a career summation, focusing in on various aspects of the band’s earlier records and tethering them into something that walks the line between new and lived-in. Both immediate and thoughtful, “Leave Him Now” is one of the best songs of 2018.

Squid – The Dial

“The Dial” will serve as an introduction-at-large to Squid for many, which will make the impact significantly more forceful. To put it bluntly, “The Dial” is an absolute monster of a post-punk song, finding the band effectively navigate pop appeal and post-hardcore intensity. There’s an ambient interlude, a section where the vocals become unhinged screams, and more than a few interlocking grooves that operate as interstitial threads. “The Dial” is a behemoth of a track, making Squid’s presence known. Keep both eyes on this band and keep this song on repeat.

Gouge Away – Ghost

Gouge Away have quietly become one of today’s best post-hardcore bands, building a name for themselves on a string of outstanding releases. “Ghost” is the latest from the band, which manages to be one of their softest moments and their best track to date. Coasting along at a mid-tempo pace, the band leans into each down stroke with conviction and seem to be operating at the height of confidence, evidenced by the risk involved in a boundary-stretching song. It’s a risk that pays staggering dividends; “Ghost” is the kind of track that makes a whole new audience take notice.

Hovvdy – Easy

Cranberry was a consensus pick as one of early 2018’s great records, giving Hovvdy‘s name considerable weight among a certain section of artists and fans. A few tours later and the band’s followed up that extraordinary release with a gorgeous single, headlined by “Easy”. A soothing slow-burn, “Easy” is characteristic of the band’s best work, drawing in the listener and making sure they stick around to enjoy every subtle nuance embedded into an intoxicating strain of indie pop. Beautiful, meditative, and compelling, “Easy” is a can’t-miss.

Strange Ranger – New Hair

Following up a record that guarantees a cult following, no matter the size, is never an easy feat. Fortunately, Strange Ranger prove up to the task on “New Hair”, the best track of the band’s career. An explosive burst of basement pop, “New Hair” finds Strange Ranger embracing their powerpop tendencies but injecting a level of grit and determination into it that prevent the track from being remotely saccharine, while still finding a way to encapsulate their older prominent influences. It’s impressive and effective, suggesting Strange Ranger aren’t content with cheap trills and searching for longevity.

Pip Blom – Come Home

Over the past several years, Pip Blom have been transforming themselves from a band with promise to a project that’s threatening to break out as an emergent act. “Come Home” suggests that it’s only a matter of time before Pip Blom start making bigger waves, operating as an irresistible slice of insistent indie pop. Informed by post-punk and incredibly aware of effective composition with an expert’s grasp on dynamic structure, “Come Home” is the kind of track that’s tough to shake. It’s also a track that guarantees repeat plays.

Swearin’ – Future Hell

One of the most heartening developments of this past year has been the promise of new material from the recently reunited Swearin’, a band that put out this decade’s best demo and one of its best records. Guitarist/vocalist Kyle Gilbride once again takes center stage, voice teeming with both determination and conviction while the band gives the track their all. Intuitive guitar figures and a solid rhythm section elevate the material further, erasing any doubts that Swearin’ have lost a step in their absence. We should all be thankful they’ve returned.

Gabby’s World – Winter, Withdraw

Recently Gabrielle Smith‘s Eskimeaux project shed that moniker in favor of Ó, which turned out to be a temporary placeholder that’s now made way for what should be the project’s final name: Gabby’s World. With that change, the project seems to have a renewed sense of purpose, something evidenced by the ambition of “Winter, Withdraw”. One of the project’s most gorgeous and most breathtaking moments, “Winter, Withdraw” will be the lead-off track for Gabby’s World’s forthcoming Beast on Beast and sets an extraordinarily high bar when paired with other advance track “Rear View“. Whether or not Gabby’s World can live up to the early precedent shouldn’t even be a question.

Yowler – Angel + Where Is My Light

Maryn Jones is either directly responsible or has played a pivotal role in some of the best records and songs of this decade already, thanks to the songwriter’s involvement in both All Dogs and Saintseneca. Yowler, Jones’ solo project, always can claim an entry or two in that category, and returns this year with Black Dog In My Path. Two of the advance tracks for the record occupy different territory but showcase the project’s shift to a full band. Angel is a tender, wistful track that fits in with the project’s earlier material while “Where Is My Light” is a shock to the system, plunging Yowler into unfamiliar — and incredibly dark — depths, incorporating a sludge influence to breathtaking effect for one of this year’s most thrillingly unexpected turns. Both tracks paired together have more than enough to suggest that Yowler may be on the verge of releasing one of 2018’s most inspired records. None of us deserve Jones’ run but we should all be eternally grateful to bear witness.

Cloud Nothings – The Echo of the World (Stream)

It’s been a while since anything went up on these pages and there are a lot of reasons behind yet another interim but, as ever, the work continues to be done behind the scenes. Five posts were scheduled to go up before that break and will be going live today. This is one of those posts.

On the last Cloud Nothings record, the band effectively presented an amalgamation of the project’s entire history, providing a fascinating bent to an excellent record. The band’s set to return with Last Building Burning, their forthcoming album. “The Echo of the World” is the first peek into what the record has to offer and suggests the band may have pared down their approach to presenting a career summation, this time congealing individual aspects that made their earlier work standout.

It’s an exhilarating and even exhausting listen — even at a relatively scant four minutes — but it provides the music itself a renewed sense of purpose, allowing guitarist/vocalist Dylan Baldi’s pained, existential screaming to once again be underscored by ambient, noise-driven guitar work and punched home by the relentless, unmatched drumming of Jayson Gerycz. “The Echo of the World” is an absolutely ferocious work that finds Cloud Nothings in full-on attack mode, baring newly-sharpened fangs. If this is an indicator of Last Building Burning‘s tone, we should all be looking forward to basking in its fire-lit glow.

Listen to “The Echo of the World” below and pre-order Last Building Burning from Carpark here.

Lonely Parade – Olive Green (Stream)

It’s been a while since anything went up on these pages and there are a lot of reasons behind yet another interim but, as ever, the work continues to be done behind the scenes. Five posts were scheduled to go up before that break and will be going live today. This is one of those posts.

One of 2018’s more exhilarating breakout acts, Lonely Parade have crafted an immensely enticing lead-in to The Pits, thanks to the strength of the record’s advance singles. “Olive Green” is the latest piece of evidence suggesting that The Pits is primed to be one of the year’s best records. Once again, Lonely Parade deliver a work that surges off the energy that comes with their territory (the intersection of basement pop and post-punk), offering up an incredibly catchy run of razor-sharp guitar work, an aggressive rhythm section, and a pointed vocal delivery that oscillates between confidently sardonic and meaningfully unhinged. In short: it’s brilliant.

Listen to “Olive Green” below and pre-order The Pits from Buzz here.

Pile – Cup (Stream)

It’s been a while since anything went up on these pages and there are a lot of reasons behind yet another interim but, as ever, the work continues to be done behind the scenes. Five posts were scheduled to go up before that break and will be going live today. This is one of those posts.

Few bands have earned the type of reverence among its listeners and contemporaries as Pile. Intricate, winding, dynamic compositions have brought them unending admiration and made their discography staggeringly dense, which is something that Odds and Ends addresses. A record that compiles the band’s 7″ releases, compilation contribution, and other assorted castoffs, Odds and Ends serves as something of a career summation and testament.

“Cup” is the record’s lone new, unreleased original track and it’s as unwieldy, tense, and breathtakingly go-for-broke as anything in the band’s towering catalog. After what many see as the best release of the band’s storied DIY-centric career, “Cup” is another bracing reminder that Pile are still on an ascending trajectory, suggesting that they may never truly hit a genuine peak. Raucous, intelligent, and deceptively subtle, “Cup” is the exact brand of brilliance we’ve come to except from what several have breathlessly hailed as the best band in the world.

Listen to “Cup” below and pre-order Odds and Ends from Exploding In Sound here.

Mike Krol – An Ambulance b/w Never Know (7″ Review, Stream)

A few weeks ago site favorite Mike Krol returned with the typically explosive “An Ambulance“, the songwriter’s first release since Turkey (apart from a well-deserved deluxe reissue). “An Ambulance” more than proved Krol hasn’t lost a step in the interim, flaunting all of the characteristics that made his early work scintillating enough to snag the attention of Merge, who wisely added the basement pop auteur to their roster. An Ambulance b/w Never Know finds the label continuing to reap the benefits of that decision, which offers up two incredible tracks that are as infectious as they are aggressive.

With “An Ambulance” already given due credit (click the link above to go to the previous feature), “Never Know” gets the bulk of the attention here. It’s a song that finds Krol tapping further into the strain of pop music that defined the ’50s, which is an area that was effectively mined by contemporaries — and frequent collaborators — Sleeping in the Aviary. It’s a side Krol’s music doesn’t always feature but one that’s consistently worked to the material’s benefit, which is decidedly the case on “Never Know”, an outrageously fun track with a classic spin.

Together, “An Ambulance” and “Never Know” constitute one of the year’s best standalone 7″ releases and offer a tantalizing glimpse towards a more comprehensive project that Krol’s been hinting at in recent weeks. Strap in for the ride and use this as the soundtrack in the getaway car. Whenever the next stop arrives, this will be a stretch worth revisiting.

Listen to An Ambulance b/w Never Know below and pick up a copy from Merge here.

Dilly Dally – Sober Motel (Stream)

When Dilly Dally‘s “I Feel Free” announced the band’s return, a lot was made about how the band’s initial touring schedule and international attention nearly killed them forever. Part of this was because of the stress levels that attention necessitated and the resulting struggles that existed within the band’s makeup. Alcoholism was a vice that hit especially hard and is a subject that gets pushed to the forefront of the band’s follow-up single to “I Feel Free”, pointedly entitled “Sober Motel”.

Weathering all of those storms and fighting through life’s difficulties seems to have made Dilly Dally a stronger band, with “Sober Motel” and “I Feel Free” standing  as pillars of proof. The band can still go scorched-earth with the best of them and they’re leaning even harder into the rest-and-explode dynamic that helped them make their name. “Sober Motel” showcases this especially well, with Katie Monks unleashing one anguished howl after another (Monks’ voice remains one of the best instruments any band today has to offer) as the band provides some complementary grit. It’s a characteristically breathtaking track from an original voice that found a way to survive. We should all be grateful.

Listen to “Sober Motel” below and pre-order Heaven here.

Marbled Eye – Laughing Sound (Stream)

Taking less than a second to establish that there’s a threat of detonation is always a bold way to start a track and that brand of weaponization is fearlessly deployed in Marbled Eye‘s “Laughing Sound”, one of the best post-punk tracks of the year thus far. The quartet rides that foreboding intro into a jittery tempo that never truly explodes, the band reeling in with the kind of measured restraint that defines the genre. Yet, that lingering threat remains throughout the track’s entirety, never dissipating enough to provide a level of safety or comfort.

Constantly teetering back and forth between total annihilation and crumbling to pieces, “Laughing Sound” should serve as a remarkably perfect lead-off track for Marbled Eye’s forthcoming Leisure. A behemoth of a song as it currently stands, it’ll be fascinating to hear in the context of the record. For now, we should be more than content to just loop this one until every twist and turn’s been committed to memory.

Listen to “Laughing Sound” below and pre-order Leisure from the band here.

Alien Boy – If We Don’t Speak (Stream)

Consistently engaging and constantly intriguing, Alien Boy have been a name to watch for a while now and, if “If We Don’t Speak” is any indication, are preparing for bigger things. Not just in terms of audience but scope. Everything from the production to the arrangement style has been tweaked and “If We Don’t Speak” is comparatively towering over Alien Boy’s past releases (which remain worthy of investment). Here, the project bridges subversive pop-punk with shoegaze to an effect that’s genuinely startling.

A lot of bands in the past few years have been attempting to bridge those two genres but most haven’t come halfway close to the seamless overlapping that “If We Don’t Speak” contains. Washed-out reverb, punishing guitars, an aching melody, a bruised narrative, and a tenacious determination collide to elevate the sound to stratospheric heights that conjure a genuine feeling of awe. It’s a behemoth of a track that’s not content to just reach skyward, it’s one that successfully seizes the universe.

Listen to “If We Don’t Speak” below and pre-order Sleeping Lessons from Tiny Engines here.