Only a short while ago The Holy Circle were kind enough to offer up a premiere for their “Polaris” music video. Today, a new premiere is on the table: the brooding, pulsating, melancholic “Early Morning”. Taken from the band’s forthcoming self-titled full-length, “Early Morning” is a characteristically dark piece of synth pop, underscoring the band’s gift with atmospherics as much as it highlights their penchant for forward-thinking composition.
A calm, steadily swirling vortex of mood, emotion, and quiet determination, the track represents another important step forward for the band, whose evolution has been a privilege to witness. Hypnotic and mesmerizing in all of the right ways, “Early Morning” takes on a complex narrative involving perceived beauty and hard-fought individuality, weaving it into a gentle dreamscape couched in some subtle menace, creating an absorbing tapestry that’s difficult to shake. A commentary on the emotional duality of burdensome expectation, “Early Morning” transcends its outward tranquility to become something that cuts deep. One of the band’s finest moments to date.
Listen to “Early Morning” below and pre-order The Holy Circle here as a download, from ANNIHILVS on CD, and from Black Horizons on cassette.
In the past week or so there were a handful of notable music videos that emerged from the likes of Simon Doom, Real Estate, American Lips, Jay Som, Andy Shauf, Slow Dancer, Chromatics, TERRY, Sam Mullany, and Andy Gabbard. All of them were entertaining for various reasons and all of them are worthy of repeat viewings. As is always the case, music videos weren’t the only thing finding their way out of the shadows. Songs and records were unveiled but nothing landed with as much impact as Jason Isbell & The 400 Unit’s “If We Were Vampires”.
Normally, the features on Heartbreaking Bravery are granted to either emerging or off-the-radar artists, musicians as established and widely-celebrated as Isbell pick up enough notices elsewhere. To that effect, something has to be monumentally moving for an artist of that type of stature to earn a feature. “If We Were Vampires” is, unmistakably, one of those pieces. Isbell’s made a habit out of writing those types of numbers, including one of the most devastatingly beautiful songs since the turn of the century in “Cover Me Up“, a heartfelt ode to his wife and collaborator, Amanda Shires, who served as a constant reminder life was worth living.
If “Cover Me Up” centered around the conceit of Shires acting as a necessary rebirth for Isbell, “If We Were Vampires” subverts that narrative and explicitly focuses on how Shires’ presence will either make life unbearable to navigate if she passes first while recognizing that the trade-off will be worthwhile because she’ll have been there up until that point. All of those emotions are magnified considerably when taking into stock the various accounts of how Shires legitimately saved Isbell from a variety of vices that could’ve potentially ended his life. As the best partners tend to do, Shires not only gave Isbell hope but gave him a new lease on life; for Isbell Shires and his very life are inextricably intertwined to a stratospheric degree of intensity.
That love’s something that’s been present throughout his recent work and has been clearly evident in his banter (he nearly reduced an entire crowd to tears at Prospect Park in 2015 just talking about Shires, while she was on hiatus from performing to deliver the couple’s first child). In a recent interview, Isbell mentioned that when he first performed “If We Were Vampires” it was legitimately hard for him to make it to the end and admitted that’s still occasionally the case as Shires watched on with a mixture of pride and genuine understanding. They’d just run through the song and it was impossible not to notice Shires’ loving gaze as the two harmonized carried just a hint of sadness, the chorus’ final line “but one day I’ll be gone or you’ll be gone” likely hitting uncomfortably close to home.
It’s that juxtaposition of life with someone you love that makes dying a more acceptable fate. It’s a heavy concept that Isbell toys with masterfully here, envisioning both himself and Shires as vampires, content to play it cool because they didn’t have to account for that impending destination waiting on some unknown horizon. In the very next stanza, Isbell discards that scenario entirely, surmising that “time running out is a gift” and pledging every last one of his seconds to be offered up in the service of the woman he loves, a woman that both saved his life and gave him a reason to live. It’s earnest, it’s heartfelt, it’s deeply empathetic, and it stands proudly as another heartrending masterpiece from one of our generation’s finest songwriters. Hit play and keep the people you love close enough for them to know they give other people’s lives just a little more meaning.
Listen to “If We Were Vampires” below and pre-order The Nashville Sound here.
Drug Tax, the band’s forthcoming EP, is out next month and to preview the release, they’ve offered up a beach-heavy clip that comes courtesy of Thomas Ignatius, who highlights what makes the band so appealing. There’s a sense of fun permeating throughout “Out of Touch” that’s both familiar and inviting. Surf elements blend seamlessly into psych elements, the visual effects and color grading offering an acute reflection of the band’s musical aesthetic. It’s a deceptively clever and impossibly entertaining moment of quiet catharsis that more than proves Fruit & Flowers are ready to advance their career to even higher levels.
Listen to “Out of Touch” below and pre-order Drug Tax from Little Dickman here.
Energetic, forceful, and masterfully composed, “Lavender Night” continues an unassuming winning streak for the songwriter just as it underscores all of the things Amy O does so well. Drawing from past decades of musical influence to create something that feels familiar yet unique enough to be singular, “Lavender Night” is a melting pot getting thrown across the room at a massive canvas. Once again, Amy O finds a way to stick the landing, creating an absorbing and memorable canvas worth revisiting.
Listen to “Lavender Night” below and pre-order Elastic here.
Ben Morey became a memorable name thanks to an enviable output that included exceptional work with Dumb Angel and Howlo. Morey takes the spotlight here and is surrounded by an ensemble backing cast made up of some of Rochester, NY’s finest musicians (among them: Pleistocene‘s Katie Preston, Mikaela Davis, Green Dreams‘ Jesse Amesmith, and members of Attic Abasement). “New Life”, the breezy first song to be released from the project’s forthcoming full-length, Mt. Doom, gave listeners plenty of reasons to be excited over its release and “Black Jacket” — premiering here — should only heighten that anticipation.
“Black Jacket”, which was recorded in South Wedge Mission and boasts a narrative that Morey described as a “Motorcycle death melodrama” told from the perspective of a teenage ghost. The doo-wop inflected track’s musical aesthetics hearken back to a time where that kind of story would feel snugly at home. It’s an absolutely gorgeous number that capitalizes fully on the 10-piece outfit assembled for the recording (which includes Pleistocene’s Preston).
There’s not a false note to be found on “Black Jacket”, a spirited near-waltz that makes excellent use of its “sha-la-la” backing vocals and spoken word interlude. Too forward-thinking to be strict revivalism and too historically-informed to not be considered nostalgia-inducing, “Black Jacket” straddles a familiarly cozy divide and breathes some new life into that gap. A beautiful piece from a record that grows more fascinating with each new track, “Black Jacket” is both a tantalizing look at Mt. Doom and a perfect addition to anyone’s summer soundtrack.
Listen to “Black Jacket” below and pre-order Mt. Doom LPfrom City of Quality here and keep an eye on Dadstache for the tape release.
Approximately 48 hours into the week and the world’s already delivered exceptional new tracks from Daddy Issues, Stillwave, Dent May, Tomten, Versa, Jason Loewenstein, Broken Social Scene, and Palm. Great Grandpa also released a song, following up their explosive “Teen Challenge” (one of 2017’s finest songs) with yet another jaw-dropping turn that should hike the anticipation even further up for the band’s forthcoming Plastic Cough.
Once again leaning into a ’90s alternative in a way that feels thrillingly alive rather than tired and rehashed, Great Grandpa have crafted another triumphant mini-masterpiece in “Fade”. Swinging from one wildly different section to another with an exacting prowess, the band seems to conjure up energy from perfectly executing hairpin turns and leaning into powerful moments with all their might. “Fade” is a wild, incendiary three minutes that suggests — as “Teen Challenge” did before it — Plastic Cough may just wind up being one of the year’s best records. As soon as “Fade” is over, the only thing anyone’s likely to do is go back and hit repeat. It’s another winsome moment for a re-emergent band poised to reach the next level of what looks to be an incredibly promising career.
Listen to “Fade” below and pre-order Plastic Cough from Double Double Whammy here.
“Book of the Dead on Sale” continues Zac Little’s penchant for crafting Appalachian folk-inspired music tinged with just the slightest punk influence. It’s a formula that’s defined the band’s best work and “Book of the Dead on Sale” now proudly joins a host of tracks as an example of the project’s finest work. Humble, gorgeous, battered, and singularly focused, “Book of the Dead on Sale” makes the absolute most of a two minute run-time and proffers a reminder that Saintseneca is one of the best acts currently releasing music.
Listen to “Book of the Dead on Sale” below and keep an eye on this site for more updates on the band.
Released as part of the Split Singles Club — a joint effort between Bedroom Suck and Barnett’s own Milk! Records label — “How To Boil An Egg” treads welcomely familiar territory but offers enough of a twist to keep the song from being staid or complacent. Leaning in a touch harder on a classic country influence, Barnett conjures up another high-energy ramshackle gem, replete with clever turns of phrases and gritty tones. In short: it’s another sterling effort from one of our generation’s finest young artists.
Listen to “How To Boil An Egg” below and subscribe to Bedroom Suck and Milk! Records Split Singles Club here.
A new high-water mark for an exciting emerging artist, “Trouble Adjusting” keys in on several of the elements that made Folick’s best early work so invigorating. There’s a raw ferocity to “Trouble Adjusting”, present in everything from the scintillating guitar work to the way Folick practically spits out several lines of the verses, fangs bared and ready to go in for the kill. It’s a song that gains both energy and power as it hums along, transforming itself into a whirling mass of breakneck force like a wrecking ball swinging back on its axis before bearing down into its intended target. Melodic, memorable, and completely galvanized, “Trouble Adjusting” seems to suggest Folick’s bright future is there for the taking.
Listen to “Trouble Adjusting” below and keep an eye on this site for more details regarding the forthcoming Give It To Me EP.
Last year this site was fortunate enough to host the premiere of Sun’s Out Bummed Out’s “Cut All My Hair“, a song that’s refused to relinquish its vice-like grip on my brain ever since. Laura Daegling, the songwriter responsible for that project, is back at it again with another new outfit: Surfer Rosie. Formed as a Pixies cover band, the quartet eventually morphed into something else entirely and they’re offering a glimpse at what’s to come with “Worms”.
Spiky, atmospheric, and a little bit vicious, “Worms” is a contained burst of oft-kilter pop, dressed up in a decidedly punk aesthetic. It’s a simple, effective, and even gripping work, making the absolute most of two minutes and injecting that time with a distinct personality. Invigorating and galvanizing in equal measure, its easy to see why Good Cheer Records — a label that continues to make all the right choices — has tapped the band for their debut release. While further details have been kept quiet, “Worms” will go a long way in filling that silence. Give into its minimalism for a maximal effect.
Listen to “Worms” below and keep an eye on this site for more updates on Surfer Rosie.
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