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.
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.
The Multiple Cat, Fleurie, Wallgrin, Laura Stevenson, Acid Dad, Jessie Winslow, Jeff Rosenstock, Teleman, Secret Space, Sam Cohen, Evening Bell, Joey Cape, Eagulls, Andrew Bird, and Hounds of the Wild Hunt constituted the second half of the honorable mentions list to have accumulated over the past two full weeks, which this installment of Watch This is designed at capturing. After the preceding post got the proceedings underway, this 132nd volume of the series officially brings the coverage up to this present week (which is not accounted for in either of these recap posts). Below are several of the finest full sessions to have appeared in the series this year from a variety of site favorites. So, as always, sit up, crank the volume, adjust the brightness, and Watch This.
1. Charles Bradley & His Extraordinaires (KEXP)
There are few stories as inspiring in the world of entertainment as the story of Charles Bradley, a man who refused to let his dreams and die and was rewarded for his relentless commitment, persistence, and faith. One of the most respected and beloved soul singers on the planet, his success as an artist has been legitimately heartwarming. In the moment, memories of that story well aside, there are few performers who manage to be as effortlessly captivating, a trait that’s lovingly captured here by KEXP.
–
2. Courtney Barnett (3voor12)
At this point in the series’ run, it’s safe to say that no one has made more appearances than Courtney Barnett, who was regularly finding featured spots even in the earliest weeks of implementation. Barnett’s reputation has grown significantly over the course of that time and the songwriter’s honed an arsenal of winsome talents into near-perfection. Its a development that’s immediately evidenced in this session’s opening number, “Depreston“, and the mesmerizing guitar runs that Barnett strings together during the song’s breaks. Infusing the vocals with a more recognizably emotional flourish to round things out, it’s unlikely that Barnett’s reign over this series will end anytime soon.
–
3. Wimps (PressureDrop.tv)
Wimps have made a few appearances both on this site and in this series thanks to both their manic garage pop and carefree-but-hyper sensibilities. They’re an act that seems determined to keep attempting to best their previous outings. It’s a trait that makes them eminently likable and informs their performances in the most positive ways, which is illustrated more fully by this PressureDrop.tv session, which stands with Summer Cannibals’ recently-featured session as one of the series’ most bracing highlights.
–
4. Big Thief (KINK)
Few records to have emerged over the course of this year have landed an emotional punch as forcibly as Big Thief‘s aptly-titled Masterpiece. Here, guitarist/vocalist and principal songwriter Adrianne Lenker strips these songs down to their barest form: acoustic guitar and vocals. It’s a testament to their inherent power that they remain as riveting in this context as they do in the more sprawling presentations of the record. It’s a beautiful session that easily ranks as one of the finest Skype’s 101.9 KINK subdivision has produced to date.
–
5. Savages (NPR)
No station has proven to be more adept, inventive, or artful at capturing full concerts as NPR, whose meticulous dedication to preserving their featured artists remains a source of inspiration. Here, the station provides Savages with the kind of lurid editing and foreboding photography direction that matches the band’s aesthetic to perfection. For nearly 90 minutes, the presentation’s never anything less than absolutely stunning. As the light comes cascading down and flickers off into the ether for the final time at the end of the clip, Savages exit confidently and can now rest easy knowing that they’ve just been given the definitive document of this era of their career.
Ever since Seratones‘ run at last year’s CMJ, the band’s been slowly escalating nearly every facet of their already-formidable presentation. Boasting one of the most awe-inspiring vocalists currently on the circuit, the band delivers a commanding performance here for Audiotree. Grabbing onto something won’t save you from being flattened.
–
2. Car Seat Headrest – Fill In The Blank + Vincent (WXPN)
Teens of Denial still confidently stands as one of 2016’s finest records, a fact that will inevitably be reflected by several sources come December, and thanks to the band’s live show it’s still gaining traction. The band tore through “Fill In The Blank” and “Vincent”, the record’s opening two tracks, for WXPN. It’s a masterful run that shows Car Seat Headrest have plenty of tricks up their sleeves.
–
3. Courtney Barnett (Strombo Sessions)
Courtney Barnett may very well hold the record for the most Watch This series appearances at this point. An endlessly gifted — and obscenely likable — performer, Barnett’s hyper-intelligent songwriting is allowed to thrive in the live setting. All of those qualities can become even more pronounced in her endearing solo performances, which is squarely the case with this beautiful set that comes courtesy of Strombo Sessions.
–
4. Midnight Reruns – Richie the Hammer (Set List)
Last year, Midnight Reruns‘ brilliant Force of Nurture made a very strong showing in this site’s year-end rankings and a large reason for that placement was guitarist/vocalist (and principal songwriter) Graham Hunt’s growth as a lyricist. The record’s most surprising moment may very well have been the emotional devastation contained in “Richie the Hammer”, which the band recently performed for WPR’s excellent Set List series.
–
5. Weaves (NPR)
After several years of stellar performances and continuous evolution, Weaves have managed to create quite a few converts. “Shithole“, a fiery moment of reinvention, kicked off a run of songs that currently comprise the most formidable stretch of the band’s still-blossoming career. The band takes on a trio of those selections for one of the most galvanizing Tiny Desk sessions in recent memory. It’s downright electric.
After the many successes Even Hand found with both their self-titled debut and their follow-up outing, Drifted, slowing down would have been a logical move. Instead, the band opted to continue surging forward, honing the minutiae of their strongest aesthetic choices and continuing to grow sharper as a band. “Line Out”, the record’s opening track, immediately sounds more vicious than anything on the band’s first two records, building into a hard-charging noise/punk section that aims to bludgeon and hits with a surprisingly direct force. The track peels back a little eventually, revealing that the band’s penchant for compelling understatement hasn’t just remained in tact but has somehow become even more emboldened.
“Line Out” sets the tone for what’s to follow, including the insistent trio of tracks that come in on its heels. “Mystery Is”, “Telewater”, and “MONEY HOUSE BLESSING” all feel indebted to a strain of ’90s punk that’s gone relatively unexplored as a primary source of influence from bands that have caught the eye of the greater public (Meat Wave being a notable exception). Of the three, “MONEY HOUSE BLESSING” stands out most because the band switches up its approach and places equal emphasis on dissonance and melody instead of primarily playing to their strength in catering to the former.
“Melt Glass” provides a breathtaking transition in one of the record’s bravest moments, which shows the band plumbing a previously untapped depth of the kind of experimentation that should yield impressive dividends as they barrel their way into the future. As an instrumental track, it also affords Even Hand what’s essentially a chance to subtly reset — or at least adjust — the positioning of Sighted, which they take immediately take advantage of by pairing the two shortest tracks together in the sequence that immediately follows “Melt Glass”.
“Holes in the Ceiling” ties the wistful, melancholic atmosphere of “Melt Glass” over for another track while the rant-fueled “Nightsmoke The Fuss” immediately cuts that atmosphere to shreds while (barely) retaining its subdued, bittersweet underpinning. More than any other stretch of Sighted, Even Hand’s able to demonstrate their expanded nuance and seemingly limitless understanding of the genre’s malleable, elastic form, something a lot of other bands become far too self-involved to explore in any sort of meaningful way.
Sighted‘s final third is largely made up of songs that more directly tie to the band’s past work, only they sound ever-so-slightly more focused than the bulk of their existing discography. Each one comes equipped with the kind of metallic sheen that Steve Albini likes to emphasize with his production techniques. “Sleep Complex”, Sighted‘s penultimate — and longest — track flashes a whole arsenal of qualities that made Even Hand such a fascinating band in the first place. The tension, feeling, dynamics, and intelligent structuring all point to a band operating at full capacity.
The elegiac “On A Distant Distant Distant Day” closes the proceedings out in a haunted whisper that doesn’t feel too far removed from Told Slant‘s recent work. As a final act, “On A Distant Distant Distant Day” feels appropriately placed; as more epilogue than finale, the song’s allowed to demonstrate worth via subtext rather than surface action. It’s an intelligent move that caps off a deeply rewarding record that benefits from investment but doesn’t wield it like a requirement. Oddly moving and meticulously crafted, Sighted marks the band’s third consecutive standout and goes quite a distance in proving the band’s not beholden to any sort of limitation. In short: Sighted is music worth celebrating.
Listen to Sighted below and keep an eye on Stupid Bag for the eventual cassette release.
[EDITOR’S NOTE: Each of the seven volumes that comprise this Watch This package contain 25 clips apiece. Due to the sheer volume of live videos that have come out during January, February, and March all of the packages will have the same introductory paragraph. Regular Watch This segments will resume on Sunday.]
It’s been a tremendous first quarter for live videos. While Watch This, Heartbreaking Bravery’s weekly series celebrating the very best of the live video format, hasn’t been in operation for roughly three full months, the information required to keep this thing humming (i.e., checking through hundreds of subscriptions and sources for outstanding new material) has been collected at regular intervals. If they were full sessions, single song performances, studio-shot, DIY captures, transcendent songs, or transcendent visual presentations, they were compiled into a massive list. 175 videos wound up making extraordinarily strong impressions, those videos will all be presented here, in the Watch This: The Best of 2016’s First Quarter extended package, one 25-clip presentation at a time.
Watch the sixth collection of those videos below.
–
1. Lady Lamb – Dear Arkansas Daughter (Audiotree) 2. Lithuania – God In Two Persons (WXPN) 3. Jason Isbell – Something More Than Free (The Current) 4. Lever – The Nerve (DZ Records) 5. Mothers – Burden of Proof (Paste) 6. Kississippi – Googly Eyes (WXPN) 7. Savages – Adore (Colbert) 8. The Dirty Blondes – Because (VHS Sessions) 9. Saintseneca – Sleeper Hold (KUTX) 10. Lucy Dacus – I Don’t Wanna Be Funny Anymore (Radio K) 11. ARNO – Dance Like A Goose (Bruxelles Ma Belle) 12. Devon Goods – Michigan (VHS Sessions) 13. Little Yellow Dog – Time Machine (DZ Records) 14. Two Inch Astronaut – Personal Life (bandwidth.fm) 15. Tangerine (KEXP) 16. Kitten Forever – Cannon (The Current) 17. Eleventh Dream Day – Cheap Gasoline (Sound Opinions) 18. Catbath – Jellyfish (Radio K) 19. Andy Shauf – The Worst In You (La Blogotheque) 20. Choir Vandals – Ghostly (Little Elephant) 21. New Ruin – Disappearances + Del Rosa + Negative Dialectics (Razorcake) 22. Left & Right – Sleep Show (Do512) 23. The Thermals – Thinking of You (Jam in the Van) 24. Blah Blah Blah – Soon as I Get Home Tonight (DZ Records) 25. Julia Holter – Sea Calls Me Home (Strombo Sessions)
Now that nearly everything’s back up to speed on the three major fronts (streams, full streams, and music videos), it’s time to re-direct the attention to the very best material that emerged in the first three months of 2016. After listening to literally thousands of new songs throughout the course of this year, 50 songs will be embedded below (the original list was just over 50 and the last three cuts were from Public Access T.V., SOAR, and Retired), with the first several artists listed having multiple songs vying for the feature.
Due to the time constraints, each of the songs — while worthy of several paragraphs — will receive a line or two of text. All of the songs that competed for the feature spot will be hyperlinked. All of these songs, in one way or another, genuinely stood out from the rest of the pack- and beyond that, several of them have proven their worth via their staying power.
From moments of devastating vulnerability (“Low Hymnal”) to electrifying bursts of visceral energy (“DVP”), there’s a lot to digest. Whether carrying the status of new, emerging, proven, or elder statesman, the artists that comprise this list have viable year-end potential. All 50 of these tracks deserve investment. Dive in below and explore a large handful of 2016’s finest gems.
Bent Shapes – New Starts In Old Dominion
After making their mark with a string of consistent releases, Bent Shapes delivered their strongest effort yet with Wolves of Want, which was highlighted by the surging powerpop number “New Starts In Old Dominion”. | Also worth hearing: What We Do Is Public, Realization Hits
–
Culture Abuse – Turn It Off
A seething mess of chaos and cacophony, Culture Abuse‘s “Turn It Off” was one of young 2016’s most immediate post-punk tunes. Sharp and unrelenting, “Turn It Off” more than makes its mark. | Also worth hearing: Dream On, Peace On Earth
–
Audacity – Lock On the Door
Self-described by the band as a “Third Eye Blind rip-off song”, “Lock On the Door” is the band’s most successful grime-coated excursion and retains every bit of its predecessors’ considerable charms. | Also worth hearing: Umbrellas, Dirty Boy.
–
Mulligrub – Homo Milk & Man in the Moon
Mulligrub managed to impress when they were just starting out and they’ve grown noticeably in a surprisingly short period of time. If this two-song package is any indication, there are some extraordinary things in Mulligrub’s future. | Also worth hearing: Europe
–
Mo Troper – First Monkey In Space
Mo Troper’s Beloved is my early front-runner for Album of the Year and with songs as perfectly crafted (and presented) as “First Monkey In Space”, that shouldn’t come as a surprise. Big Star-meets-Tony Molina is a very, very good look. | Also worth hearing: After the Movies
–
Jawbreaker Reunion – Cosmos
Another early year-end candidate came in the form of Jawbreaker Reunion‘s breathtaking “Cosmos”, which saw them tapping back into the lovesick despair that made “E.M.O.” so unforgettable. When the back half kicks in on his one, it’s a moment of powerful transcendence. | Also worth hearing: Small Investments
–
Kal Marks – Coffee
A sprawling, bruiser of a track, “Coffee” sees Kal Marks continuing to dominate the realms of aggressively down-trodden post-punk, fully equipped with a messy handful of grunge influences. It’s another masterclass from a band who are very nearly peerless. | Also worth hearing: Mankind
–
Tenement – The Block Is Safe Again
One of three songs on this list to be experiencing a cleaned up re-release, “The Block Is Safe Again” is vintage Tenement. All you really need to see to know that this is incredible is the last word of that first sentence. | Also worth hearing: Freak Cast In Iron
–
Nicole Dollanganger – Chapel
Another song that experienced a re-release, “Chapel”, saw Nicole Dollanganger embracing her softest sensibilities and conjuring up something spellbinding. Let it wash over you and give into its dreamlike state, pay attention, though, and you’ll be plunged straight into a delicate nightmare. | Also worth hearing: Beautiful and Bad
–
Big Ups – National Parks
Shortly after hitting their five year anniversary, Big Ups unloaded a behemoth of a record in Before A Million Universes. The high-wire tension act of “National Parks” was one of its many peaks, providing an able showcase for the band’s commanding sense of self. | Also worth hearing: Hope for Someone
–
Tancred – Sell My Head
One of 2016’s most pleasant surprises has come in the full-blown emergence of Tancred. Spiky, formidable, and exceptional, everything Jess Abbott’s project has unleashed this year has hit its target. Store this one away right next to the fiercest songs from Palehound and Speedy Ortiz. | Also worth hearing: Control Me
–
Eskimeaux – WTF
After claiming this site’s Album of the Year distinction, the Epoch quartet known as Eskimeaux has returned with a shimmering new EP. “WTF” continues the band’s winsome penchant for expertly crafted, bittersweet pop songs with a gentle ease. Good luck shaking that chorus section. | Also worth hearing: Power
–
Solids – Blank Stare
Following a string of strong releases, Solids have a career high on their hands with the Else EP, which boasts four enthralling tracks that combine a host of influences into something melodic and menacing. “Blank Stare” is the EP’s highlight. | Also worth hearing: Wait It Out
–
Eureka California – Cobwebs on the Wind
Eureka California have proven themselves to be a remarkably consistent band and they’ve rarely ever been granted the spotlight they deserve. Versus, their latest effort, is their most engaging thanks to the jittery energy that propels tracks like “Cobwebs on the Wind” and “Caffeine”. | Also worth hearing: Caffeine
–
Banned Books – Fuselage
Very few records this year have caught me as off guard or sent me reeling as quickly as Banned Books, the exhilarating self-titled effort from the Philadelphia noise-punk figureheads. “Fuselage” contains some of the band’s most exceptional — and propulsive — work to date. | Also worth hearing: Everything I’ll Ever Need
–
Hudson Bell – Box of Bones
One of the most difficult decisions to make in compiling this list was which of these two listed songs to feature. “Box of Bones” got the edge for the extraordinary hooks and some jaw-dropping sections of sheer perfection. Hudson Bell is putting together something unreal and more people should be taking note. | Also worth hearing: Hey Doll
–
Plush – Sheer Power
A sweeping, magisterial work of lush decadence, “Sheer Power” announced Plush’s 2016 run with a heaven-sent explosion. Dynamic, powerful, gorgeous, and towering, “Sheer Power” is the band at their most gripping and one of early 2016’s most spine-tingling offerings. | Also worth hearing: Please Don’t Let Me Go
–
PUP – DVP
As expected, when PUP resurfaced after making one of the most beloved punk records of this current decade, they were even more feral and wild-eyed than when they left off. “DVP” isn’t just the band’s fiercest song to date, it’s also one of their strongest. Get out of the way or get run over (repeatedly).
–
Greys – No Star
Another one of Toronto’s finest punk acts, Greys, have been putting together a deeply impressive run over the past few years. They’ve yet to make a bad song and thrive off the tension they inject into the kinetic “No Star”, which expertly balances the band’s most melancholic sensibilities with their most explosive.
–
The Sun Days – Don’t Need To Be Them
2016 has already had its fair share of excellence in powerop but right now, no one’s doing that genre better than Sweden, who’ve gifted us another extraordinary act in The Sun Days. Album, the band’s debut record, offers up a whole bevvy of what are likely to go down as some of 2016’s loveliest tunes, like the gorgeous “Don’t Need To Be Them”.
–
Frankie Cosmos – On the Lips
The last of the songs on this list to have a prior release, “On the Lips” finally gets the full band treatment for Frankie Cosmos‘ sprightly Next Thing. Already considered a standout of a very crowded discography, “On the Lips” is pure Frankie Cosmos: light, charming, and memorable.
–
Oceanator – Nowhere Nothing
Very few songs over the past several years have had a section that laid me as flat as the outro to Oceanator’s “Nowhere Nothing”. The project of Vagabon drummer Elise Okusami, Oceanator’s already showing an astounding level of promise. As a standalone song, it’s breathtaking. As an artist’s introductory number, it’s flat-out unbelievable.
–
Yoni & Geti – Madeline
Serengeti’s carved out a respectable place for himself throughout the course of a very consistent career. WHY?‘s Yoni Wolf is rightfully regarded as one of this generation’s most remarkable lyricists (by certain circles, at least). Their collaborative project is only just getting started but the lilting powerpop of “Madeline” bodes well for the duo’s future.
–
EERA – Drive With Fear
“Drive With Fear” was the first song that really pulled me into EERA‘s fascinating world. Combining elements of dream-pop, ambient, and noise into an extremely tantalizing package, the project from Anna Lena Bruland’s landed on something intangible that seems ready to pay dividends as it goes forward. This song alone’s a piece of magic.
–
Tacocat – I Hate the Weekend
Tacocat returned with “I Hate the Weekend”, advancing the band’s commendable aversion to disappointing by amplifying what they do best: carefree basement pop that deals with life’s more mundane moments. Sugary, sharp, and well-informed, “I Hate the Weekend” will stand as one of 2016’s greatest anti-parties.
–
Dilly Dally – Know Yourself
Watching Dilly Dally unexpectedly pull out this Drake cover last year at CMJ prompted what I can only describe as a near-out-of-body experience. I wrote about it extensively a few times and was hoping an official recording of the cover would make its way out into the world. When it arrived, it didn’t disappoint; “Know Yourself” is an absolute monster.
–
Lucy Dacus – Strange Torpedo
“I Don’t Wanna Be Funny Anymore” was one of the best songs of last year and I haven’t been able to shake it since its release. Fortunately, Lucy Dacus had a new batch of equally exceptional songs to round out the incredible No Burden, including “Strange Torpedo”, a very strong showcase of Dacus’ knack for hyper-intelligent songwriting.
–
Weaves – One More
Weaves have undergone one of the more impressive transformations in music, transitioning from an intriguing world-leaning act to a full-fledged basement pop group. “Shithole” was one of the first indications of their radical switch and they’ve followed it up with the vicious, teeth-baring noise-punk of “One More”.
–
Free Cake For Every Creature – First Summer In A City
Katie Bennett’s Free Cake For Every Creature project has excelled in making airy bedroom pop that’s grounded by a relatable honesty. “First Summer In A City” is an instant standout, instantly capitalizing on the act’s most breezy and road-weary sensibilities. The slide guitar work here is a thing of quiet perfection.
–
Woods – Morning Light
Another band that knows a thing or two about breezy, road-weary sensibilities is Woods, who have sculpted an entire career out of combining the two. One of the most remarkably consistent bands going today, they’ve managed to produce a career highlight with the easygoing, piano-speckled Americana of “Morning Light”.
–
Music Band – Fortune Guns
Basement pop meets basement punk is where this site pulls most of the bands it features most prominently. Music Band exists squarely in that intersection and have nearly perfected that marriage. “Fortune Guns” is the latest piece of thrilling evidence.
–
A Death Forest Index – Myth Retraced
“Myth Retraced” is the kind of song that slowly washes over the listener, pulling them deeper in with each successive wave as the current gets increasingly stronger. A collaboration between A Death Forest Index and Savages’ guitarist, Gemma Thompson, it’s a dark, fractured miracle of a track.
–
Carey – You Were Right
Old Flame Records has long specialized in retro-leaning basement pop, building up a roster of acts that have — appropriately — been granted a lot of attention from this site. Carey‘s the latest band to get in on the action and they kicked 2016 off with the blazing “You Were Right”, which more than lives up to the label’s high standard.
–
Wood Lake – Hollow
Easily the heaviest song on this list, “Hollow” is a swift masterstroke from emerging act Wood Lake. Combining the very best elements of post-hardcore and shoegaze, the band’s latched onto something that feels as exhilarating as it does singular. Gorgeous and punishing isn’t an easy combination to pull off but Wood Lake’s got it down pat.
–
Dead Stars – Unpopular
Dead Stars have shown up on this site a few times thanks to their ’90s-infused take on basement pop and “Unpopular” is another very worthy addition to a strong discography. Clean when its called for and distorted when it matters, “Unpopular” finds the band in fine form.
–
Such Hounds – I’ve Been Lost
Riding a syncopation lifted from The Damned’s classic “Neat Neat Neat” in the introduction, Such Hounds’ “I’ve Been Lost” quickly transforms into a beast of its own, lacing its emphatic powerpop with a punk sneer. Insanely catchy and playfully welcoming, it’s a breath of fresh air in an all-too-often overly serious musical landscape.
–
Told Slant – Low Hymnal
The first time I heard a note of Told Slant‘s “Low Hymnal” was when it was being recorded in DBTS. I’d wake up and listen in on Felix Walworth meticulously recording the song, wondering how the finished version would play. When I heard the rough take, I surrendered myself to chills, on the verge of tears. Now that it’s done, that feeling’s returned.
–
Mitski – Your Best American Girl
The year Bury Me At Makeout Creekcame out it came very close to capturing this site’s Album of the Year distinction. Mitski‘s made a lot of moves in the time that’s followed, watching her audience grow exponentially in the process. “Your Best American Girl” is more than strong enough to allow that trend to continue; it’s a dynamic behemoth.
–
Yung – Pills
Yung were one of the first bands to really impress me at last year’s CMJ. I’d enjoyed what I’d heard from them previously but their was something intangible happening with their live show that converted me into a full-fledged believer. “Pills”, an expertly crafted basement pop number, serves as a welcome reminder that they’ve elevated their game.
–
Patio – Arbitrary Numbers
Fortunately, for everyone, Patio‘s only grown more confident since their demo (and their first show). Their upcoming EP, Luxury, is chock-full of memorable post-punk, including “Arbitrary Numbers”, the release’s minimalist pull track. Intelligent, catchy, and well-informed, it shows the band’s well on their way to being a recognizable name.
–
Jean-Michel Blais (ft. Bufflo) – Nostos
One of the more beautiful piano compositions to have emerged in some time, this collaborative effort between Jean-Michel Blais and Bufflo is a haunting, masterful run that’s weighted by what scans as genuine emotion. All of the ambient elements that spring up manage to enhance the vivid nature of the piece’s most emotive moments.
–
Fog Lake – Rattlesnake
From its melancholic opening moments to its uneasy close, Fog Lake‘s “Rattlesnake” is a gripping journey through unsparing self-examination. Haunting, haunted, and oddly unnerving, the relatively tranquil “Rattlesnake” is a miniature masterpiece that should go quite a ways in elevating Fog Lake towards a desirable status.
–
Tangerine – Sunset
Tangerine have all the energy you’d expect from an exciting emerging act but are able to differentiate themselves thanks to how effectively they wield that energy. “Sunset” is a perfect example, a frantic, sun-soaked, punk-tinged powerpop number that plays like the band was having difficulty containing their sheer joy over the prospect of simply making music.
–
Bob Mould – The End of Things
At this point, if you’re reading this site, it’s highly unlikely that Bob Mould‘s an unfamiliar name. The Hüsker Dü co-leader has been on an absolute tear with his solo releases of late, his finest work on those rivaling the best of the band that made him a legend. The fire-breathing “The End of Things” shows that he has absolutely no intentions of slowing down.
–
Catbus – Fracas
Patio‘s Lindsey-Paige McCloy and Alice Suh make another appearance on this list as part of this new, Phyllis Ophelia-led project that announced itself by way of the uniformly excellent “Catbus”. Post-punk, ’90s pop, and minimalism are woven together here to instantaneously memorable effect. The chorus alone stands as one of 2016’s strongest musical moments.
–
Museum of Recycling – Stillove
Last year, I was fortunate enough to host the demo premiere of “Stillove”, the standout track from new Big Ups side-project, Museum of Recycling. Heavy, atmospheric, and unrelentingly bruising, “Stillove” sees Joe Galaragga embracing his most melodic sensibilities to spellbinding effect. Get crushed under its formidable weight.
–
Leapling – Alabaster Snow
While Leapling have had a sizable handful of great tracks leading up to 2016, “Alabaster Snow” showed the band operating on a different level entirely. Easily the band’s best song to date, it’s a chaotic mixture of powerpop and vicious noise-punk that keeps things clean and winds up being even more engaging for its unconventional choices.
–
Dusk – My Own Design
Tenement‘s Amos Pitsch and Holy Sheboygan!‘s Julia Blair have both had their turn at the helm of Dusk and now, on “My Own Design”, the band moves darn it.‘s Ryley Crowe to the forefront. “My Own Design” is just as timeless and perfect as “(Do the) Bored Recluse” and “Too Sweet“, definitively proving Dusk as a whole belongs at the head of the WI music scene.
–
The Gotobeds – Real Maths/Too Much
It took me a while to come around on The Gotobeds after the lead-off single from their last record left me fairly cold. This time around, I’d happily go all in on “Real Maths/Too Much”, a pointed burst of post-punk that lingers long after its left. Fiery, insistent, and played with an intense amount of feeling, it’s the band at their absolute best.
–
Big Thief – Real Love
Another likely contender for multiple year-end lists arrived in the form of Big Thief‘s “Real Love”, a breathtaking tune that’s breathing new life into Saddle Creek’s increasingly impressive roster. A towering masterclass of pure songwriting, “Real Love” is jaw-dropping at nearly every turn, from the sky-bound guitar work to the plaintive honesty that grounds the whole affair. If the rest of the band’s upcoming Masterpiece comes close to matching this song, it’s tongue-in-cheek title won’t carry a shred of irony. “Real Love” is four minutes and 17 seconds of sublime perfection.
Now that the songs have, by and large, been brought up to the present release cycle, it only seemed fitting to turn the attention towards some of 2016’s strongest records. Since records are more time-consuming than individual songs, none of them will be featured individually in the next week. However, all of the records below are more than worthy of investment. A small handful of these even have a shot of being expanded on at the end of the year. For now, though, I’ll simply provide another list for exploration. Once again, there’s absolutely no way these can be listened to in one sitting so it may be best to just bookmark the page and return at will. From demo debuts of solo projects (Potty Mouth‘s Aberdeen Weems) to triumphant returns (Jawbreaker Reunion, photographed above) to fascinating splits (Great Thunder and Radiator Hospital) to outstanding compilations, there’s a lot to discover. Dive in below and find some new bands worth following.
Now that the 2015 edition of A Year’s Worth of Memories has officially wrapped, it’s time to dive headfirst into 2016. There’s been a long delay in posting due to all of the recurring series and, simply, covering the volume of what’s been released in January, February, and the first few days of March. It’s precisely because of the jaw-dropping amount of material that the next few posts on this site will merely be a collection of links. Since it’d be humanly impossible to get through even a large chunk of this in one setting, it may be best to just bookmark this page and peruse the below list at your own leisure. After all of the single stream, full stream, and music video links lists are up, the focus will shift to a handful of standout releases. Once that’s all been said and done, Heartbreaking Bravery will resume operations as normal.
Explore some of 2015’s excellent early offerings below.
[Warning: Some light spoilers will be found in the following descriptions. Proceed with caution.]
Over the course of the past year, there have been several hints dropped towards an expansion in regards to this site’s film coverage. While the coverage so far has primarily leaned towards music-related releases, those pieces haven’t touched the scope or breadth of the coverage to come. Thus far, I’ve seen approximately 150 films to find release in 2015 either through a theatrical run or a festival screening. While there are still key titles missing from that equation (Son of Saul, Mustang, Chi-Raq, etc.), the majority of the major awards players have been accounted for as well as most of the smaller titles to find critical acclaim. So, while this list- like any- can’t be viewed as definitive, it can certainly still be representative. Even with those restrictions, there are still a lot of corners of the film world to cover. So, without further ado, here’s 15 of ’15: The Best Scenes of 2015.
15. Heaven Knows What Proves Its Love
In what will surely go down as one of 2015’s most harrowing opening sequences, Arielle Holmes desperately pleads with the object of her affection to accept an apology at the onset of Heaven Knows What. After several failed attempts to get his attention, Holmes (who stars in the film, which was based on her memoir) is told outright “If you love me, you would have killed yourself by now”, as she clutches a convenient store razor and holds it against her wrist. The tension is shot through- if only for a fleeting second- with one decisive action that sets the template for what’s to come.
14. 45 Years Finds Ivory Solace
Two scenes from 45Years, Andrew Haigh’selegiac study of a fractured relationship, have been receiving the bulk of the mentions in these lists. While those scenes (one involving a projection reel and another involving a climactic dance that sees Charlotte Rampling top her astonishing performance off with one final, devastating flourish) are deeply impressive setpieces that deserve attention. However, there’s one small but key moment that comes deep into the film that wasn’t originally scripted. During a break in filming, Rampling sat down at a piano that was included as an interior prop for the house where the majority of the film is shot and began playing a melancholic piece that caught Haigh’s ear. The performance is improvised and adds another layer of depth to one of the year’s most fully-realized characters.
13. Dope Shows Its Steel
One of 2015’s most energetic films was also one of its most publicized breakout successes from the independent sphere. Dopeisn’t without its flaws but it’s still a massively entertaining film with a timely, pointed message. Featuring a startling lead turn from Shameik Moore, it touches on a variety of hot-button topics with a wild fervor but tends to hit hardest in its more implicit moments. In what may very well be the film’s most dramatic moment, Moore’s character turns to a drastic measure to secure his safety after being blindsided by a local gang and takes everyone (including himself) aback. It’s a jarring look at how easy it is to turn to violence as an outlet in a pattern that feels disconcertingly systemic rather than as a result of circumstance.
12. Carol‘s Last Look
Todd Haynes’ latest, an empathetic examination of a lesbian relationship in the 1950’s, has been hailed almost universally as a masterpiece. Firmly re-establishing Haynes’ position as one of cinema’s leading auteurs, Carolalso boasts two bona fide masterclass performances from Cate Blanchett and Rooney Mara. While the whole affair, even in its ugliest moments, is exceedingly elegant, it’s the film’s final moments that land most emphatically. Bringing the story full-circle, Blanchett’s Carol and Mara’s Therese exchange a glance- nearly identical to the one that began their relationship at the start film- only this time, the roles are reversed. Therese initiates the contact and- potentially- accepts an invitation much more substantial than the one Carol had extended in the film’s opening moments.
11. A Pigeon Sat On A Branch Reflecting OnExistence‘sCruelest Instrument
The third and final installment of Roy Andersson’s Living trilogy, A Pigeon Sat On A Branch Reflecting On Existence, proved to be a divisive title among most viewers. Even those accustomed to Andersson’s bone-dry sensibilities seemed to be split over the film’s merit but nearly everyone that managed to see his latest agreed on one thing: it contained the most unforgettable sequence the director’s ever produced. One of the only times Andersson opts for multiple POV angles occurs late in the film as a small string of relatively nondescript, elderly upper class denizens file out of a building and calmly watch a gigantic brass instrument that slowly rotates over a fire- an instrument that contains a line of slaves who had just been marched into the container. All at once, it’s a haunting look at the worst impulses of humanity and a vicious condemnation of the ideals that constitute social and racial divides.
10. Junun Takes Flight
One of 2015’s most unexpected delights was Paul Thomas Anderson’s masterful Junun, a short-form documentary that incorporated a guerilla filmmaking approach. In capturing the sessions Jonny Greenwood and Shye Ben Tzur hosted in Rajasthan, India, Anderson managed to document a small bounty of spellbinding moments. At its best, Jununmanages to find a way to seamlessly combine some of those moments into scenes that are elevated to sublime realms. One of those moments arrives around the film’s halfway point, which splices in gorgeous aerial shots from one of the drone-mounted cameras surveying a frenzied bird feeding process and a spirited performance from Junun‘s key players that allows Greenwood’s guitar work to take a more central role. The sequence marks Junun‘s most definitive moment; conventions are eschewed while there’s an aesthetic artistry that’s conjured up in the marriage of the film’s distinctive live score and its ravishing visuals.
9. The Revenant‘s Grizzly Attack
At this point, it might be fair to say that the bear attack sequence that sets TheRevenant‘s plot into motion is the most ubiquitous scene of 2015. After the ridiculous bear rape allegation was put to rest, Alejandro G. Iñárritu’s most infamous setpiece was both afforded and allowed a great deal of further scrutiny. A meticulous construction of epic proportions (does Iñárritu work in any other model?), the sequence expertly balanced the naturalism that provides The Revenant with its magisterial approach and the CGI elements that transform it into something otherworldly. Leonardo DiCaprio gives a gutsy, committed performance as the film’s protagonist, with this- its showiest moment- operating as its beating but bloodied heart. The attack also sets the tone for the film’s ensuing stretches, where the bleak only becomes bleaker as DiCaprio’s Hugh Glass rallies time and time again to continue to barely cling on to survival. 8. Creed Shadowboxes With Ghosts
Yes, Creed‘s tracking shot in the film’s second staged fight (and the first professional fight for the titular character) is one for the books and, yes, the film lands several more knockout blows in various scenes. However, the film’s most direct moment is defined by its thoughtful subtlety. Early on in the film, Ryan Coogler focuses on Michael B. Jordan’s Adonis Creed as he brings up the fight where his father takes on Rocky Balboa. Before long, the young Creed is swept up in the desire to become a part of the fight and starts mimicking the action happening on screen. While he takes the position of his father, he imitates Rocky’s patterns and movements, which played a role in cementing Creed‘s status as the 2015 film that embraced its legacy while opening an intriguing new chapter most successfully.
7. Beasts of No Nation‘s Grave Realization
Netflix’s first original film had a lot of expectations going into its unveiling and when it was finally released, it may have exceeded those expectations. Bold, provocative, and deeply unsettling, Cary Fukunaga’s tale of a child soldier, Beasts of No Nation, paints a hyper-violent portrait in vivid, arresting colors. While Idris Elba gives a towering, career-best performance as a militia commandant, the film draws a fair amount of power from an astonishing turn by Abraham Attah, who plays the film’s central character, Agu, with gravitas and grace. Both Attah and the film hit a high point in a climactic moment of obscene depravity where Agu, realizing the gravity of the actions taking place around him, suddenly finds his sense of morality and restores some of the humanity he’d lost in the process. As he starts putting an end to the unnecessary suffering of others, he begins to chart a new path for himself and work towards redemption.
6. Room‘s Return
In the 2014 edition of this site’s annual A Year’s Worth of Memories series, I closed the last chapter with a simple “I love you all” and the final scene from Lenny Abrahamson’s offbeat gem Frank. Abrahamson returned this year with a dazzling effort that earned Oscar nominations for its lead (the always-spectacular Brie Larson), its direction, its adapted screenplay, and a nod for best feature. While the scene that’s been earning Room the most notices is a tremendous piece of filmmaking that accurately captures a child’s wonder. While that sequence is admittedly dazzling, the sequence that comes at the film’s end where the film’s protagonists return to the titular room that once served as their prison. In that return, Jack (played masterfully by Jacob Tremblay) and Ma (Larson) view its ruins with differing perspectives. The youngest remembers it fondly, surveying a once-familiar landscape with a warm curiosity, while Ma makes peace with the most tragic time of her life and turns towards the future after whispering the film’s final two words.
5. Sicario Crosses the Border
Sicario, Dennis Villeneuve’s white-knuckle look at the wars being waged on and beyond our borders, certainly isn’t lacking in heart-pounding suspense. From the opening scene- where the walls are literally filled with relatively fresh corpses- to the final standoffs, not a moment passes that feels anything less than electric. While all of them are effective, none of them compare to the traffic jam sequence as the film’s protagonist, Kate (an excellent Emily Blunt, who’s quickly becoming this generation’s finest action star), is immediately submerged in what her new position will entail. Already suspicious that what she’s doing isn’t technically legal, Kate’s pushed to a near breaking point when the team she’s paired with engages in a shootout with a cartel as they’re stuck in gridlock. Villeneuve and cinematographer Roger Deakins (who just earned his 13th nomination) shift back and forth from Kate’s shaky, uncertain point of view (which favors verite presentation) and the more assured stance of Josh Brolin’s Matt Graver. Meticulously constructed and flawlessly executed, it easily ranks as one of this decade’s finest examples of escalating tension.
4. White God‘s Final Bow
No film in 2015 benefited more from a remarkable animal performance than the vicious Hungarian drama White God, which chronicled the harrowing journey of one dog who’s forcibly removed from the care of Lili (an astounding Zsófia Psotta), a young girl whose only comfort rests in her dog (Hagen) and her music. After Hagen’s set to the streets by Lili’s father in accordance with the laws of the country, the dog goes through a brutal journey that includes a long stint at the hands of an abusive owner who injects Hagen- as well as several others- with drugs to prepare them for bouts of dog fighting. All the while, Lili continues a search to bring Hagen back home and make some reparations to a life that feels half-empty following Hagen’s removal. Before long, the dogs begin to revolt against their persecutors and form an unlikely union in an attempt to carry out their revenge. While Kornél Mundruczó’s film mostly deals in metaphor, it subverts its approach in its final climactic moments that bring several key elements into play before underscoring the empathy that gave White God glimmers of hope, even at its most wrenching. Its that final, unforgettable confrontation that provides the film its most striking visuals and its finest moment.
3. Tu Dors Nicole‘s Sibling Bonding
While the familial bond that connects the protagonist to her brother- who are sharing their parents’ house while his band uses it as a studio to record their new album- only serves as one of Tu Dors Nicole‘s (admittedly crucial) undercurrents it also provides the setting for its loveliest moment. Late in the film, tensions are running high as brother and sister alike are both going through partnerships that are gradually dissolving. After toeing the line of a flirtatious relationship with her brother’s new drummer, Nicole (a wonderful Julianne Côté) finds that her brother’s domineering tendencies and need for control have forced him out of the band. Nicole, feeling low and already reeling from the sudden dissolution of both an important friendship and plans for the future, sees her brother playing guitar by himself, lost in his own train of thought. Wordlessly and without warning, Nicole approaches the empty drum kit he’s seated by and starts in on a rudimentary pattern that begins to elevate her brother’s melancholic guitar work. Before long, the two of them are operating in near-perfect harmony. As they play, it becomes clear that both are channeling their troubles and their frustrations into their playing, temporarily skirting their issues to simply set aside their fundamental differences and share a moment together.
2. Phoenix Speaks Low
If one were to compile an aggregate of these lists, the final scene of Phoenixwould likely stand as a near-unanimous selection for the best scene of 2015- and for good reason. Nina Hoss delivers a tour de force performance as a holocaust survivor who enters into a game of cat-and-mouse with the man that believes the woman he once married has been long dead. In a desperate ploy to secure some of her estate, he enlists the help of a new arrival (Hoss), who- unbeknownst to him- was the woman he married. Nearly unrecognizable due to reconstructive surgery following her time at the camp, Hoss’ Nelly Lenz leads the man she was once married to down a path fraught with duplicity as he attempts to secure the finances his former wife had built in her time as a singer. As the divide separating fantasy from reality begins to gradually thin, it finally hits a point of no return in the jaw-dropping final scene that manages to incorporate the majority of Phoenix‘s recurring motifs into a sequence that also functions as an extraordinarily effective epilogue. It’s the ultimate reveal and the way its performed and presented instantaneously renders it iconic. All of the anxiety, all of the tension, all of the desire, all of the doubt manifests tenfold as Hoss gradually falls into a spirited rendition of “Speak Low” that leaves the audience in a stunned silence.
1. Anomalisa‘s Most Revealing Moment
Leave it to Charlie Kaufman to craft one of the year’s most intimate films using nothing but stop motion ball-and-socket armatures. A lot has been made over Anomalisa‘s incredibly moving sex scene and its portrayal of what is, more often than not, an awkward process despite all of its inherent beauty. Its easily one of the most memorable scenes of 2015 but what makes it work so effectively isn’t its length or attention to detail- it’s the immediate lead-up. At this point, Kaufman’s ably established himself as one of this generation’s greatest humanists, imbuing even the darkest corners of his work with an empathetic tenderness that can make the smallest moments come across as emotionally overwhelming. An extraordinary study of loneliness, depression, and a character confronting both on an exceedingly deep level, Anomalisa spins a series of grace notes when it gives its protagonist Michael Stone (superbly voiced by David Thewlis) someone to play off of in Lisa Hesselman (a marvelous Jennifer Jason Leigh and the only other character in the film not to be voiced by Tom Noonan).
What begins as a frantic quest to find that stray, magical voice leads to a modest drinking session that quickly turns to a nightcap between the film’s two most distinctive characters. Before they climb into bed together, though, both show their capacity for affection and vulnerability, forming an intense bond over the notion they’re both intensely out of place in the world they inhabit. Before long, Leigh’s Lisa is opening up about the scar on her face that she covers with her bangs (which is kissed later on in a moment of genuine kindness) and Thewlis’ Stone is gently coaxing her into a heartbreaking rendition of “Girls Just Want To Have Fun” (an unexpected but welcome staple of 2015) just so he can more clearly hear the music in her voice. Their entire exchange in the hotel room is warm, devastating, and unflinchingly human. It’s also a notch above perfect.
Heartbreaking Bravery 