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June 17, 2016

Emily Yacina – A Curse (Music Video)

emily yacina

As the work week approaches its end, new material finds its way out into the world. This Thursday boasted intriguing new songs from Lina Tullgren, Peter Broderick, TERRY, Reality Something, No Joy, and Alexandra Savior. Moonface and Siinai, Private Victories, Grubby Little Hands, and The Blind Pets all released compelling new music videos. Full streams posted an impressive cast of entries as well, including new records from Soccer Mommy, Mikey Erg, Great Barriers, VHS, and The Dove and the Wolf. While, as ever, all of those are worthy of multiple revisits, it was a music video that slipped through the cracks earlier this week that ultimately wound up with this post’s feature spot.

Emily Yacina has built a career out of reveling in a comforting softness, conjuring up tantalizing beds of sound and enveloping the listener with the blankets. There’s an inherent warmth in her work that becomes effortlessly inviting while simultaneously creating a pull that stems from a deceptive emotional intricacy. The Sophie Savides-directed video for “A Curse” — which is gorgeously lensed by Kelly Jeffrey — capitalizes on all of those elements with an enticing precision.

Opening on a shot of a forlorn Yacina in a bathtub set against a clinically white backdrop, the camera draws closer, slowly pulling us into her world. Two vases of flowers adorn that backdrop, offering signs of life that soon blossom as the perspective switches to Yacina’s POV which reveals that she’s submerged in a milk-like liquid that single flowers populate. Another perspective shift and the flowers are suddenly everywhere, as a wellspring of noises calmly enter into the track.

Yacina captivates throughout, delivering a startlingly poignant performance that speaks to her abilities as both a composer and a performer. As the clip progresses, the sincerity in Yacina’s songwriting grows clearer as she bravely conveys every emotion that carries “A Curse” with a poise that seems effortless. Eventually, the camera pulls back out in a cyclical reveal that underscores the pained loneliness that informs the narrative of “A Curse” in a moment of reserved devastation.

Overall, “A Curse” is a deeply felt, elegant entry into Emily Yacina’s already impressive body of work. Open, honest, and incisive, it’s perfectly demonstrative of what can be achieved with an idea, a strong team, and a wealth of conviction. In that sense alone, it’s inspiring. What makes it worthwhile extends beyond its underpinnings to its execution. “A Curse” is exceptional at every turn and winds up being a definitive portrait of a formidable artist. After a dip into “A Curse”, it’s proving to be nearly impossible to work up the resolve to leave.

Watch “A Curse” below and pick up Soft Stuff here.

June 16, 2016

Bueno – I Got Your Back (Stream)

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The past two days have been eventful for nearly every major release category but standalone streams put up an incredibly impressive run thanks to great new tracks from Chris Staples, Toby Coke, Mozes and the Firstborn, Hater, Heaven For Real, Stephen Steinbrink, Year of Glad, IAN SWEET, Yeesh, Young Mister, Dumb Numbers, Tamper, Vomitface, Planning For Burial, Adam Torres, Private Joy, The Rantouls, Half Loon, LUKA, Pascal Pinon, DYAN, and Slow Hollows. Music videos offered up a strong class as well, including new pieces from Summer Cannibals, Nico Yaryan, Peter Bjorn And John, Allah-Las, Melaena Cadiz, Alice Bag, Shock Machine, John Southworth, and an astonishingly powerful entry into the format from Totemo. Graveface, Lea, clipping., Neutrals, Shickey, RLYR, Control Top, Spook the Herd, and a summer sampler from the remarkably consistent Z Tapes rounded out the full streams.

While all of those titles are more than worthy endeavors worth ever single moment of investment that they’ll be given (and likely even more), Bueno’s latest track grabs this post’s headline. Over the past several years, Bueno has gain an extremely dedicated following that have granted them an almost cult-like status among their converts. “I Get Your Back” justifies that adoration with a calmness that nears the serene. Incorporating an off-kilter powerpop sensibility into their typical ’90s-indebted slacker punk approach pays massive dividends here, as the erratic propulsion of “I Got Your Back” leads it into the kind of near-transcendental territory that’s hard to forget.

Listen to “I Got Your Back” below and pre-order Illuminate Your Room here.

June 14, 2016

Dentist – Joel (Stream)

Monday tends to be one of the more eclectic release days for standalone streams and today proved to be no different. Worthwhile material emerged from just about every genre this site typically covers and continued to stretch some boundaries. The following artists all had songs that deserved to be heard: Consilience, Jackal Onasis, Gap Dream, Sweat, Scarlett Saunders, Cheena, Possible Humans, Ranch Ghost, Above Top Secret, and The Meltaways. In addition to those releases, a small handful of notable music videos from angelic milk, Wireheads, Haley Bonar, Preoccupations, and Ali Beleitc also saw the light of day.

Dentist’s surf-tinged “Joel” wound up securing the feature spot by virtue of sheer strength. Opening up on a foreboding riff and staccato chord stabs awash in reverb, “Joel” sets an intriguing — and oddly compelling — tone at its onset. Slowly, the guitar fades and gives way to a creeping piano figure that injects the song with an eerie Southern Gothic sensibility. Then, after a brief rest, the song snaps into a sugary overdrive that kicks the energy up from 15 to 80 in an instant.

Following the switch, Dentist falls comfortably into a groove that operates as a pastiche of pop influences from decades long gone. It’s a perfect transition that illustrates the band’s understanding of their craft, suggesting that Dentist’s forthcoming Ceilings may be one of 2016’s most unexpected joys. Apart from the invigorating dynamic shifts of “Joel”, the song’s vibrant second act endearingly instills the song with a surplus of giddy joy. “Joel” ultimately goes from bleakly intimidating to openly welcoming, leaving one hell of an imprint in the process.

It’s another entry in an already-long string of unlikely summer anthem candidates, carefree and just about perfect.

Listen to “Joel” below and pre-order Ceilings from Little Dickman here.

[Editor’s Note: The beginning of coverage in 2016 was an extremely hectic time and one odd quirk of this site was overlooked. That particular oversight will be amended in this post, which precedes the resumption of posting the 100 immediately preceding entries in the continuously-expanding Heartbreaking Bravery catalog of posts. A few of the image links are broken and some of the galleries are missing but all of them will eventually make the migration to Heartbreaking Bravery’s flickr. Keep an eye out.]

To access posts 700-799, click on the links listed below.

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June 9, 2016

Jacky Boy – Bad (Song Premiere)

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Every so often a new, unknown band emerges and challenges the entire infrastructure of the music industry. For all of its deeply unnecessary — and potentially damaging — support beams, overt interest in revenue over quality, and grossly tilted geographic priorities, the one thing it can’t hold down forever is raw talent. This is where bands like the Bloomington, IN-based Jacky Boy come into play. Operating out of America’s heartland, several steps removed from the hyper-connected trappings of LA and NYC, the band will likely have the unique opportunity to pace their own artistic growth, though “Bad” suggests that they’re already well on their way to realizing their full potential.

Very few songs have the immediate impact that “Bad” carries, even less when the band doesn’t even have an official release under its belt. From the onset “Bad” surges ahead like Courtney Barnett at her most furious before abruptly tapering off into a territory that’s decidedly more indebted to ’90s powerpop and slacker punk. Dynamic shifts, soaring backing vocals, and sharp, effective guitar work coalesce and elevate “Bad” from a promising entry into a legitimately great one.

Only a few songs into their career, the trio’s embraced a remarkably well-crafted identity that pays homage to both its forebears and their unlikely contemporaries (many of which are affiliated with Exploding In Sound). There’s a decisiveness to the decision making on “Boy” that reveals itself gradually. From the isolated Dinosaur Jr-esque guitar breaks to the hushed bridge to the deeply relatable world-weary sensibilities contained in the lyrics, “Boy” manages to perfectly bridge the divide between the past and the present by identifying the unifying traits of both the eras and the genres that have formed their approach.

Everything Jack Boy tries out on “Bad” works to an uncanny perfection, all the while piecing itself into something much larger than its opening segment might indicate. There’s a somewhat shocking level of nuance to “Bad” — especially considering the band’s only a few songs into their career — that ably expands the song’s pull on both an intellectual level and something that’s far more immediate. “Bad” doesn’t just reward investment, it openly invites, encourages, and all but guarantees that the listener will actively want to explore it further.

A triumphant opening statement and an exhilarating listen, “Bad” confidently marks the beginning of a new stage for Jacky Boy. With any luck, they’ll find that their audience never stops growing.

Listen to “Bad” below and pre-order the Jacky Boy EP from Turd Wurld here.

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June 8, 2016

Trust Fund – Together (Stream)

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After a short stretch away from the new release calendar, tracks from bands like Night School, Modern Vices, Less Win, Deerhoof, benjamin783, GØGGS, The By Gods, His Clancyness, Bat For Lashes, WALTER, and Hheaven reinvigorated some interest. Each of those new songs stood out as being worthy of both investment and praise but it was Trust Fund‘s latest, “Together”, that really managed to make a mark.

The band’s earned the position of site favorite thanks to a shockingly consistent run of spry, jangly basement pop that comes across as deeply felt and well-informed. “Together” continues to reveal the acts masterful grasp on both their identity and the genres that they choose to amplify with their songwriting approach. Organs, guitars, and vocal lines all weave a remarkably bright tapestry on “Together”, with the outro section standing out as some of the band’s finest work to date. All of “Together” is as winsome as ever and the band sets up their forthcoming We Have Always Lived in the Harolds with an endearing candor. Don’t miss out on what will undoubtedly stand as one of this season’s loveliest offerings.

Listen to “Together” below and pre-order We Have Always Lived in the Harolds from the band here.

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June 8, 2016

Rod – Cemetery (Stream)

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Great new tracks from Chook Race, TERRY, Milemarker, Heliotropes, Night School, Big Neck Police, TTNG, Morgan Dealt, Parlour, Waxahatchee, and Jay Arner surfaced over the past several days, making a considerable impression. While all of them essentially guaranteed a short, healthy stretch of new releases, it was the latest from Rod that hit hardest. The band’s next up on the release calendar for Good Cheer, who have been having a remarkable 2016 run (one that’s been highlighted by Mo Troper‘s astonishing Beloved) and “Cemetery” — Rod’s latest — makes sure their impressive pace is maintained.

In under 100 seconds, Rod makes their presence known via soaring, venomous basement pop that feels like it’s always on the verge of spontaneous combustion and doing everything in its power to keep everything under control. As the vocals switch back and forth between pointed singing and vicious screaming, the velocity of “Cemetery” increases to dangerous levels. The hard-charging guitars contort and stab as the propulsive rhythm section work transforms the song into a white-hot wrecking ball of pure feeling. It’s an exhilarating look at what’s sure to be an extremely formidable — and very intimidating — record.

Listen to “Cemetery” below and keep an eye on Good Cheer Records’ store page — and this site — for further updates on the band.

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June 3, 2016

Tenement – Feral Cat Tribe (Music Video)

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Sat. Nite Duets, Field Mouse, Voir Voir, Spook the Herd, FRIGS, Cool Ghouls, Kiss Concert, Conveyor, Pill, Death Valley Girls, Mikey Erg, and The Veils constituted one of the most impressive days for standalone streams in recent memory while Yucky Duster, Oneirogen, and Faithless Town made sure the full streams weren’t too far behind. There was also an impressive slate of music videos from the likes of Happy Accidents, High Waisted, Pkew Pkew Pkew, The Avalanches, Stefan Welch, Wand, and PJ Harvey. All of those releases deserve a hefty amount of investment but the band that snagged today’s feature spot — probably unsurprisingly at this point — was Tenement.

Few bands, if any, have had more words written about them in these spaces and I haven’t pushed any band more than Tenement. I’ve written about the trio at literally every opportunity over the past eight years and the band keeps providing reasons to sing their praises. Somehow, despite their lengthy history, “Feral Cat Tribe” stands as the band’s first official video. Featuring guitarist/vocalist Amos Pitsch’s Dusk roommates (Colin Wilde, Matt Stranger, and Julia Blair), “Feral Cat Tribe” also heavily promotes Tenement’s own ethos (stay true to what works on a DIY platform and elevate the talented people that surround you in the process).

The video itself is a dizzying, disorienting run through a relatively nondescript building as the band (and their friends) mime their way through “Feral Cat Tribe”, a highlight from one of last year’s best albums. “Feral Cat Tribe” is a shot in a way that evokes the 360-angle video trend without ever succumbing into gimmickry or egregious pageantry, opting to make a slight statement on the nature of art: no matter how it’s dressed, if the material’s core maintains its convictions, it’ll more than likely be worthwhile.

Swooping camera angles, quick edits, and constantly, continuously moving pieces are also reflective of the commendable principles the band’s endorsed since their beginning. This is music and filmmaking that’s tethered to the earth and openly embraces all of its cracks, flaws, and bruises. For Tenement’s entire career, the band’s been finding ways to find beauty in damage and the clip for “Feral Cat Tribe” continues that trend on the visual spectrum. There’s a certain level of courageousness that’s required to even attempt what Tenement’s been doing lately and they’re continuing to make it look effortless.

Whether the band’s evoking classic Americana art forms or simply building their own identity, they’re doing it with uncanny precision and a wealth of feeling. “Feral Cat Tribe” — what’s said to be the first of many music videos for Predatory Headlights — suggests the band’s grasp extends even further than what they’ve previously shown. A fascinating clip from one of the best bands currently going, “Feral Cat Tribe” further cements their status as one of today’s most trustworthy acts; everything the band delivers is battered gold.

Watch “Feral Cat Tribe” below and pick up Predatory Headlights from Don Giovanni here.

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June 1, 2016

Hater – Radius (Stream)

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After a flurry of new material emerged yesterday, Wednesday was kind enough to keep the momentum going, producing new songs from Cross Wires, HSY, Sur Back, Kilo Tango, School ’94, Wymond Miles, Strange Relations, and JOYA. Additionally, there were outstanding clips from Margaret Glaspy, Middle Kids, Public Access TV, Angel Olsen, Icky Blossoms, and Brass Bed. Finally, the full streams were capped off with extremely strong releases from the following artists: Casket Girls, Moonface and Siinai, Cough, The Stargazer Lilies, Dream b/w Comfort, Kalispell, and a reissue of elvis depressedly‘s holo pleasures that comes packaged with a new slate of b-sides. As great as all of those releases were (and they were great), today’s feature spot was confidently claimed by emergent act Hater and their spry “Radius”.

“Radius” is yet another in a long list of successes for the astonishingly prolific — and remarkably consistent — PNKSLM label, who have specialized in curating an aesthetic firmly built around carefree basement pop. Hater fit into that mold with a graceful ease but inject the proceedings with a magisterial sweep that quickly establishes them as one of their roster’s most intriguing acts. Evoking Ty Segall as much as Alvvays, Hater finds a curious middle-ground between two genres that overlap far less frequently than they should (with “Radius” operating as startling proof).

As “Radius” sprints along, arms outstretched, Hater never loses its footing or determination, allowing the song to stay grounded and build momentum all at once. In under two and a half minutes, the band conjures up a beautiful piece of lovingly damaged powerpop, maintaining an irrepressible, hopeful smile throughout all the bruises. Guitars swell, the rhythm section rolls, and the vocals soar in a beautifully woven piece of art that never outstays its welcome. Everything on “Radius” is either perfect or nearing perfection, projecting as much identity as it does confidence. In one song, Hater manages to carve out a name for themselves and it’s a name worth saying; Hater’s a band that deserves all of the mentions that will inevitably come their way.

Stream “Radius” below and pick up the band’s forthcoming EP from PNKSLM here.

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May 31, 2016

Trophy Dad/Barbara Hans (Split Single Review)

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After a quiet holiday, the releases nearly doubles from their daily average. There were great songs Amy Klein, Honeysuck, Lisa Prank, Ranch Ghost, Rosemary Fairweather, and Savoy Motel, Mesmerizing music videos were unveiled by Pinegrove, Jackal Onasis, PLGRMS, and Slow Club. Impressively, there was a shocking amount of full streams that appeared from the following artists: Erin Tobey, ghostbusters VHS, Bag-Dad, Psychic Ills, Skatebored, Rae Fitzgerald, Dream Wave, Mourn, Pudge, Whelpwisher, the A-side of Cult Values’ self-titled, PUP (easily one of this year’s finest records), and a vinyl issue of Tenement’s self-titled cassette (easily one of last year’s finest releases). Since the Tenement self-titled was extensively covered at the time of its initial cassette release, the feature spot today falls to an astonishing split single between Trophy Dad and Barbara Hans.

The split opens with Trophy Dad (pictured above), who are continued to ride a wave of momentum they generated with last year’s excellent Shirtless Algebra Fridays. 2o15 felt, in a lot of ways, like a breakout year for the quartet with Shirtless Algebra Fridays serving as their crown jewel, indicating a growing level of confidence. That trend continues its upward ascension on “Addison”, an explosive song that approaches the six minute mark without ever losing its energy or pacing. “Addison” opens with a beautiful piano outro before blooming into a Waxahatchee-esque verse section, building to a breathtaking crest before falling away into a hypnotic middle section. Just as it seems “Addison” is content to ride out in a storm’s wake, a solo erupts and viciously cuts any semblance of serenity to shreds before returning to the more median operative mode that the first verses called home.

“Bundt Cakes“, the song that Barbara Hans contribute to the split, is a far spikier and complements the impressive dynamics of “Addison” nicely. Barbara Hans specialize in basement pop rave-ups and stompers and “Bundt Cakes” may be their best to date, incessantly surging forward towards some unknown ending like its destined for a fiery wreck and openly embraced its own death. Just as it seems Barbara Hans are content to coast on their own adrenaline-generating powerpunk, they veer sharply left into a chaotic outro that could ostensibly resemble a free-form Sonic Youth noise session. It’s a thrilling end to an exhilarating song and makes a sizable impression. Paired with “Addison”, it experiences a natural elevation (and “Addison”, in turn, does the same). It’s the perfect capper to one of the best split singles of the year. Don’t miss out.

Listen to Trophy Dad/Barbara Hans below and pick it up here.

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May 29, 2016

Jay Som – I Think You’re Alright (Stream)

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Summer Cannibals, Man Up, Yancey, Brenda’s Friend, Kino Kimino, Nettle, Post Moves, and Old Maybe all had notable full streams surface over the past few days. While all of those titles are worth the investment, the attention’s going to — once again — be directed back to a song. Jay Som’s set to make a big push as the opener for an upcoming tour that also features Japanese Breakfast and Mitski, so “I Think You’re Alright” functions nicely as an anticipatory warning shot.

The thing is, “I Think You’re Alright” is so much more than just a warning shot; no song has reminded me more of Sparklehorse since Linkous’ tragic passing (and that’s an obscenely high compliment). “I Think You’re Alright” is the kind of chill-inducing bedroom pop that comes coated with the slightest layer of punk grit to keep it tethered to the earth, affording the song a relatable feeling that enhances its most wide-eyed sensibilities.

In under four minutes, “I Think You’re Alright” runs seamlessly through a variety of genre touch points, from the steady, programmed drum beat to the swirling feedback at the song’s most climactic moment. None of its misplaced, each small moment registering as a revelation. Everything in “I Think You’re Alright” coalesces into these moments of sublime transcendence that arrive at an alarming rate; it’s an astonishing song that’s comprised almost entirely of grace notes.

Importantly, everything on display sounds open and honest, amplifying the song’s inherently tragic nature. Uncompromising and singularly beautiful, “I Think You’re Alright” confidently stands as one of 2016’s most unforgettable releases. Boasting a strangely comforting melody that calmly builds a home and refuses to leave, the song ultimately carries an atmosphere that’s as inviting as it is melancholic. It’s an invitation that’s worth accepting.

Listen to “I Think You’re Alright” below and pre-order the single here.

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