EDITOR’S NOTE: This series of posts reflects back on some of the best material to be released over the past few weeks. Each post with this heading is a part of this series. After this series has concluded regular coverage will resume.
In a few weeks, Forth Wanderers will release Slop, one of 2016’s best EP’s. “Slop” and “Know Better” have both already found release and been featured on this site and now the band goes three for three with “Nerves”. Opening with an intriguingly ominous guitar figure that sounds like a Morricone sketch, “Nerves” quickly kicks into full gear, affecting the kind of mid-tempo charge that’s quickly becoming the band’s calling card.
For all the starts, stops, frenetic drumming, and dreamlike vocals, “Nerves” never sounds like anything less than a very complete whole. If a lesser band took stabs at a similar approach, the song would likely disintegrate under the complexities. Here, those complexities energize an already incredibly tantalizing song. It’s another casual masterwork from one of the most intriguing emerging acts on the circuit. Dive in and find some casual bliss in navigating its twists and turns.
EDITOR’S NOTE: This series of posts reflects back on some of the best material to be released over the past few weeks. Each post with this heading is a part of this series. After this series has concluded regular coverage will resume.
Last year Bruising very quickly established themselves as a site favorite and they’ve only solidified that status in the time between the release of “Think About Death” and now. Just a few short days ago, the band unveiled the electrifying “I Don’t Mind”, which finds their sound reaching exhilarating new peaks. In full control of their craft, the band leans into a towering, dynamic basement pop anthem leaving nothing but smouldering wreckage in their wake.
In just under three minutes, the band offers up a striking reminder of their preternatural abilities with melody and composition. There’s a sense of ennui but it’s offset by a frantic sincerity that continues to pay massive dividends for the band. Every second of “I Don’t Mind” is impressive and continues to heighten the anticipation for the day the band issues their debut full-length. Until then, “I Don’t Mind” will be on repeat until the other half of the band’s forthcoming single finds release.
Listen to “I Don’t Mind” below and pre-order I Don’t Mind b/w Rest In Peace Kurt Donald Cobain (1967-1994) here.
EDITOR’S NOTE: This series of posts reflects back on some of the best material to be released over the past few weeks. Each post with this heading is a part of this series. After this series has concluded regular coverage will resume.
Winter Wheat‘s an extraordinary album that arrived just in time for the weather’s calm descent into desolation. Anyone that’s paid attention to this site’s most recent string of posts will have seen two of the record’s songs — “Virtute at Rest”, the culmination of the shattering Virtute trilogy, and “Postdoc Blues” — covered to great extent. The album’s quietly devastating opener, “Select All Delete”, now joins their ranks.
For more than a decade, Samson has excelled at subverting ballads but “Select All Delete” finds the songwriter operating on a different level. The amount of sheer despair that informs “Select All Delete” feels bold even for someone who has a noted reputation for reducing listeners to tears. From the shuffling brushes on the snare to the defeated vocal delivery, there’s an odd absence of hope in “Select All Delete”, which sets the tone for the rest of Winter Wheat.
In one of the most gorgeous moments of any song all year, a wordless backing vocal swoops in to accentuate the chorus before the whole thing gives way to a spare, somber piano figure. There’s an undeniable elegance that runs through “Select All Delete” that winds up enhancing the sorrow at the song’s center. Over a handful of records, Samson’s never presented a narrator as hopeless and lost as the one that serves as the engine for “Select All Delete”, which makes it all the more effective. It’s a startling development, a breathtaking song, and another moment of delicate perfection from one of this generation’s most gifted songwriters. Hit play and give in to its weight.
Listen to “Select All Delete” below and pick up a copy of Winter Wheat here.
EDITOR’S NOTE: This series of posts reflects back on some of the best material to be released over the past few weeks. Each post with this heading is a part of this series. After this series has concluded regular coverage will resume.
Last year Fred Thomas released a breathtaking meditation on life, love, and loss in All Are Saved and has been quietly releasing various pieces of music ever since its release. One of those releases was “What Changes When the Costumes Come Off”, which was written specifically for the A Step Forwardcompilation that marked this site’s 1000th post (and that gesture will have my eternal gratitude).
Now, the acclaimed songwriter returns in earnest with the first look at a fully-formed new record, Charger, by way of lead-off single “Brickwall”. Characteristically wry, lived-in, and wise, “Brickwall” showcases Thomas’ enviable lyrical prowess and skill in composition. Comprised of not much more than a clean guitar tone and anxious vocals, save for what may be the most intense solo in Thomas’ storied discography, “Brickwall” finds the songwriter in rare form.
At every turn, there’s a measure of deep feeling that can be heard even through the rapid-fire barbs that are aimed at just about everyone that surrounds the central character of “Brickwall”. It’s a compelling, fascinating listen and it’s one of the more accessible and immediate songs that Thomas has released. Bold, gripping, and loaded with conviction, and sets a very high standard for Charger. If the rest of the record can live up to this precedent, 2017 will start off on the right foot.
Listen to “Brickwall” below and pre-order Changer here.
Over the past week and a half there was a vast arsenal of material that found release across all three major formats. All of the titles that made a sizable impression will be linked to below and all of them are well worth exploring. Over the next few days there will be a laundry list of individual items to find small features but that in no way should deter from the immense value of the songs listed below. If there was enough time to provide each and every one of these entries features of their own, a regular day would have to be well over 24 hours. As it stands, the best approach is to simply bookmark this page and peruse these selections at a preferred pace. Keep an eye out for more updates from this site very soon and enjoy the incredible offerings that are available below.
While they may not be a household name, it’s impossible to deny the impact and legacy of Puerto Rico Flowers. They’ve been noted as an influence by numerous contemporary DIY punk luminaries and boast one of the genre’s more celebrated discographies in this early century. Now, on the verge of a heavily-anticipated reunion show and five years after the release of their final record, the project’s decided to unveil the triumphantly damaged “No Tomorrow” and it’s a legitimate honor to be hosting the premiere of the band’s final song, which will be appearing on 16, a forthcoming cassette compilation that contains all of the band’s recorded material and a live cover.
The solo project of John Sharkey III (Dark Blue, Clockcleaner), Puerto Rico Flowers went a long way in establishing the songwriter thanks to a deeply impressive body of work. “No Tomorrow” is indicative of the project’s overwhelming strength, a long-gestating castaway that never fit in on the band’s recorded efforts. Recorded by Jeff Zeigler (Kurt Vile, Nothing, Purling Hiss) and and mastered by Jake Reid (Wildhoney, Roomrunner, Pleasure Leftists, Technicolor Teeth), “No Tomorrow” takes Puerto Rico Flowers out on the highest possible note.
Like most of Sharkey’s work, “No Tomorrow” — a song that took five years to surface — is a work that bridges the gap between being subdued and aggressive, drawing an inordinate amount of power from murky tones and an acutely-realized worldview that takes a darkly tinted look at the everyday life of the working class; a skinhead pop masterpiece. Utilizing a structure that divvies up a week into individual days and events (a sample stanza: On a Tuesday/all your tears will flood the streets/and wash your families away/On a Wednesday/you feel pain), “No Tomorrow” is unflinching in its calmly brutal outlook, which makes it all the more startling to learn what it’s truly about: American football.
In addition to that compelling detail, “No Tomorrow” also boasts what may be the most affecting chorus of Puerto Rico Flowers’ storied catalog:
Just say goodbye now ’cause there’s no tomorrow but it’s okay because there was no today Don’t close your eyes now there’s no tomorrow but it’s okay it’s okay it’s okay ’cause there was no today
That chorus serves as an oddly exhilarating moment in a song teeming with them, from the Albini-esque drum blasts that open the track to the heavenward main riff that manages to mirror the song’s fractured sense of optimism. It’s a fitting end-cap for a project that consistently gravitated toward’s life’s bleakest moments in earnest. “No Tomorrow” also has the benefit of being one of Puerto Rico Flowers’ most pop-informed moments while keeping the project’s post-punk hallmarks firmly intact, sparking a contrast that renders the song a legitimately thrilling listen.
It’s not just a perfect swan or a song that encapsulates everything that made the project great, it’s one of the most transcendent songs in recent memory. At this point, rambling on any further would be doing the song a disservice so stop reading, hit play, and get lost in the bruising world of Puerto Rico Flowers one final time.
Listen to “No Tomorrow” below and keep an eye on this site (and on Accidental Guest, who’ll be handling the digital/cassette release) for more news on 16.
James Hoare and Max Claps have quietly put together an incredibly impressive discography that’s never received quite as much attention as it so richly deserves. Hoare’s received a lot of attention for the work the songwriter’s put in with Veronica Falls (and occasionally Ultimate Painting) yet The Proper Ornaments have still managed to fly decidedly under the radar, despite Slumberland’s involvement and the project’s pedigree. “Memories” may be the song that provides that trend a welcome course-correction.
Keying in on the pyschedelic and pop influences of a bygone era, The Proper Ornaments have crafted a gently mesmerizing gem in “Memories”. It’s an approach that laces their material with tints of nostalgia, creating an infallible sense of warmth and comfort in the process. Virtually every second of the song’s 5:45 runtime is injected with genuine care and feeling. As a lead-off track for the rollout campaign of their forthcoming record, Foxhole, “Memories” is an incredibly tantalizing work. In demonstrating what The Proper Ornaments are capable of at their peak, it’s immensely assuring and propels the song to the ranks of 2016’s finest.
Listen to “Memories” below and keep an eye on this site for more updates on Foxhole.
Following in the visually arresting footsteps of its Away counterparts, “Call Yourself Renee” sees the band delivering their most vivid — and undeniably modern — presentation to date. Centering around two protagonists, the Bret Curry-directed (and shot) clip opts out of a literal interpretation of the lyrics and presents a slice-of-life look at the characters. It’s a decision that pays massive dividends, imbuing “Call Yourself Renee” with a subdued sense of mystery, which keeps the viewer guessing at the clip’s final destination.
Only Away, the band’s most gentle work, doesn’t deal in tidy resolutions and understands that the journey can be far more important. “Call Yourself Renee” holds true to this belief, letting its characters find a way to an ambiguous, open-ended exit point. While the two principle actors — Tyler Bates and Joy Curry — give committed performances that are difficult to shake, the band does manage to make a few appearances, grounding “Call Yourself Renee” with a sense of place that tethers everything together.
By the calmly assured ending, the clip’s firmly established a spell of its own, creating a realistic world that’s practically impossible to want to leave. Even with the visual asides that find Bates and Curry posturing for the camera, there’s a soft empathy that slowly drives “Call Yourself Renee” towards an unassuming transcendence. It’s a remarkably tender clip and a comprehensive visual realization of Away, serving as a perfect complement to the band’s most relaxed tendencies. There’s genuine moments of humanism, beauty, and confidence in every frame, leaving “Call Yourself Renee” as one of the most unexpectedly mesmerizing clips of the year.
Watch “Call Yourself Renee” below and pick up Away here.
Continuing on with this week’s two-part installment of Watch This — and officially catching Heartbreaking Bravery back up to both the current release cycle and regular coverage — this volume of the series features a wide range of selections. From the remarkable efforts put forth that centered on performances from Good Personalities, Man Is Not A Bird, Family Mansion, Pinegrove, Naked Giants, Okkervil River (x2), Benjamin Francis Leftwich, Ösp, Dramady, Castle Ruins, Henry Jamison, The Felice Brothers, and Bob Mould to the featured items, there’s a depth to the range of options that nicely illustrates what Watch This can offer on a weekly basis. Live edits, full sessions, abbreviated sessions, and an out-and-out concert all make appearances below, from veteran artists and tantalizing new names. So, as always, sit up, adjust the volume, forget any troubles, focus, and Watch This.
1. Mulligrub – Canadian Classic
All the way back in August 2014, Mulligrub found their way into a feature spot on this site thanks to the sheer strength of “Canadian Classic“. The trio’s made consistent appears on Heartbreaking Bravery following that event and “Canadian Classic” has more than proven to have staying power. The band recently unveiled a live edit clip for the song, which finds them playing the song in a balloon-filled room, cutting shots of the members goofing off for the camera to round the visual accompaniment out. It’s an endearing clip and a potent reminder of the telling endurance of “Canadian Classic”.
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2. Lucy Dacus (Amoeba)
Touring behind this year’s excellent No Burden, Lucy Dacus continues to impress in the live setting. The latest example of the emerging songwriter’s charismatic prowess comes from Amoeba, who present a gripping three song performance with a loving tenderness that suits the material well. Dacus has had a very strong 2016, steadily increasing favor among critics and fans alike by bridging a fierce intellect with an easy relatability. Every song on display in this session is incredibly formidable enough to suggest Dacus will go on to have a storied career. For now, this is a perfect document of an exciting era for one of today’s brightest emerging songwriters.
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3. Gurr – Moby Dick (Auf Klo)
The past few months have seen no shortage of great exuberant indie pop. One of the headlining acts of that haul has quickly become Gurr, a duo who excel at conjuring up sun-speckled bursts of warm tones, reassuring vocals, and carefree sensibilities. In this charming run through “Moby Dick” for Auf Klo, the young musicians find themselves sequestered away in a bathroom stall, trading smiles and playing “Moby Dick” to their hearts content. There’s a clear camaraderie between the pair and that familiarity and connection enhances every second of this clip, right down to the final, celebratory flush.
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4. Worriers – Good Luck + Yes All Cops (Live! From the Rock Room)
Worriers have earned themselves a loyal following for several reasons. Whether their crowd’s at their show’s for the pointed social politics, the jangly tension, the ramshackle energy, all of those reasons, or another reason entirely doesn’t matter. What does matter is that the band continuously offers several strong angles into their world and commit to those angles with a fierce conviction. It’s a trait that translates to their live show, which is lovingly captured in this memorable two-song session for Live! From the Rock Room.
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5. Okkervil River
This year’s allowed the opportunity to expand on what Okkervil River meant to the foundation of Heartbreaking Bravery and their key role in forming some of the ideas that would eventually drive the site into existence. Away, the band’s most recent release, has followed a post-release formula all too familiar for the band: fawning critical embrace, relative commercial indifference. Here, the band offers up a recent concert that showcases not only their range and uncanny ability to re-work old songs into fascinating new presentation but their jaw-dropping discography as well. The end result: an honest portrait of one of this young century’s most important bands.
As a live act, Big Ups are an extremely enticing draw. They’re explosive performers, their songs are complex and dynamic enough to demand uncommon talent, and the quartet boasts a magnetic playing style. They’ve appeared on several past Watch This entries but occupy an elevated space for this Audiotree session. Characteristically intense and oddly entrancing, this session stands as a career highlight for both the band and the rightfully acclaimed studio.
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2. Uni Ika Ai – Already Dead (BreakThruRadio)
2016 has been something of a breakout year for Uni Ika Ai. While they may not be an instantly recognizable name, the act’s been gaining traction on the back of their dreamlike approach to subdued indie pop. Deeply impressive and hard to shake, this enrapturing performance of “Already Dead” for BreakThruRadio is as good an entry point as any for the uninitiated. For more than seven minutes, the band casts a spell that deepens as the song progresses, making one hell of an impression.
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3. Explosions in the Sky (KEXP)
cTypically Watch This — and Heartbreaking Bravery in general — is a space reserved for emerging artists but every once in a while a veteran act will issue a reminder of how they earned their status. Case in point: post-rock titans Explosions in the Sky‘s recent KEXP session. The band’s riding another critical surge following the release of this year’s The Wilderness, a record that subtly expanded the band’s scope. As ever, the songs translate beautifully to the live setting and this performance serves as concrete proof.
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4. Nothing (KVRX)
When a band’s volume levels are as relentlessly punishing as Nothing‘s, stripping songs to bare acoustics can be a risky prospect. Fortunately, the band are incredibly gifted songwriters, something that comes across with a charming, natural ease in this unassuming KVRX session. There’s a certain amount of grace that often gets overlooked when shoegaze-leaning bands heavily emphasize the most bruising aspects of their approach and each song performed here becomes an essential reminder of that grace, winding up as an unexpected document of one of the genre’s most intriguing acts.
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5. Jay Reatard (Pitchfork)
More of an archival release than anything else, this look back at a musician that was lost far too young is vital, painful, and wildly exhilarating. Taking a breathlessly frantic approach, Jay Reatard whips his band into overdrive right out of the gate, ripping through a dozen songs in a fiery twenty minute set, featuring a host of songs that have rightfully carved their place out in history as pivotal genre classics. Reatard was writing out of his mind during the time this was filmed, fresh off the release of Blood Visions (which remains an indisputable classic). An arresting look back at a formidable talent, there’s heartbreak to be found in thinking about what could have been but more than enough heart on display to make up some of the difference.
Heartbreaking Bravery 