Heartbreaking Bravery

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Tag: Titus Andronicus

2018: A Long Look, A Longer Listen (The First Two Months)

A persistent and all-consuming myth among people that refuse to commit a shred of investment to any sort of search is that “good music just doesn’t exist anymore.” It’s the same sort of thinking present in the cavalcade of thoughtless attempts to shift any sort of blame for societal ills to a younger generation based solely on an outlook that was defined by a vastly different era. Fortunately, there are a host of artists to emphatically disprove brand of thinking and act as a counter to what could be construed as a subtle, insidious form of ageism. Below there are literally hundreds of links providing access to various songs, music videos, and records.

All of them are worth a shot and a good many of them are vastly different from their surrounding links. Each of those items came out in 2018 and there’s an entire world more of them waiting to be discovered by the people willing to put in the work. So use these as a starter pack of sorts or just scroll through and see what today’s musicians can offer. It’s a boundless scope and when its allowed to not just exist but thrive, there are a multitude of reasons to celebrate. Enjoy.

SONGS

Okkervil River, Hop Along, OughtFrøkedal, ConnectionsNoble Son, Mount EerieRich Girls, DuskTherese Litner, Soccer MommyHindsEric Benoit, JACK (x2), The Radio Dept., Parker Longbough, Rat Kid CoolWhy Bonnie (x2), Holy Now (x2), High Sunn (x2), Odina, Spielbergs, The Breeders, Shark ToysJouska (x2), Yazan, Johanna Warren, No Thank You, Drive Me Home Please, Your Old Droog, Charly Bliss, Liza Anne, Father John Misty, Rolling Blackouts C.F., Chemtrails, Katie Von SchleicherWavves & Culture Abuse, VALES, Sharaya Summers, Katie Dey, War On Women, The Goldberg Sisters (x2), Busdriver (x2), Queen of Jeans (x2), Shell of A Shell (x2), Soccer Mommy (x2)

Bodies Be Rivers, Cold Fronts, Three Man Cannon, Russian Baths (x2, 3), Rachel Angel, Francobollo, Big Air, Dryspell (x2), Deanna Petcoff, Sam Levin, Good Air, Helena DelandTrès Oui, Josh Rouse, Sarah Mary ChadwickDustedBonny Doon, Jay Som (x2), Golden Drag, In Tall Buildings, Mastersystem, The Love-Birds, School Disco, Caroline Rose, Zomber, Drawing Boards, SALES, Big Bliss, Wax IdolsErika Wennerstrom (x2), Droopies, Jalen N’GondaKid Dakota (x2), Haley Hendrickx, Tim Kuhl, Sunflower Bean, BambaraBenjamin Lazar Davis (x2), Hanz, Courtney Marie Andrews (x2), Verge Collection, Now, Now, Lowpines, Hurry (x2), Pole Siblings, Birds of Passage

Bush Tetras, Maria Kelly, Rafiq Bahtia, Cut Worms, Death By Unga Bunga, Sitcom, Natalie Shay, Wussy, Citris, Sculpture Club, TheodoreElan Noon (x2), Avalon, Terror Pigeon, Greg Mendez, Neil O’NeilDélage (x2, 3), Anna McClellan, Nap Eyes (x2), BILK, Malena Zavala, Camp Cope, Guerilla Toss, Damaged Bug, Gentle Leader XIV, Kraus, Bummerville (x2), WINDHAND, Numb.erErik Phillips, Oberon Rose, Lizzie Loveless, Hot Snakes, Girlpool, American Nightmare, Dr. Octagon (x2), Runaway Brother, A Grave With No Name, Samara Lubelski, vaarwell, The Golden DregsBelle MareChappo, HOLY, Vamping, Noble SonS. Carey, Ed Schrader’s Music Beat (x2), TT

Sofia Härdig, GrouperAir Waves (x2), Tenderfoot (x2), Sunflower Bean, Josh Mover & The Shakers, Jean-Michael BlaisMany RoomsFreedom Baby, La Luzilluminati hottiesThe Black Lips & The Khan FamilyMelvins, Extravision, AnemoneEverett Bird, Parquet Courts, Life In VacuumSuperteen, Cindy Lee, Ricky Lewis, BUDDIESam Moss, Sego, BRNDADungen & Woods, Loma, John Craigie (x2), Lanikai, Pony LeagueDreamend, Sea Moya, Oceanator, Holly Miranda, Renata Zeiguer, Deathlist, Wilder MakerLea Bertucci, Cutouts, Sur Back (x2), I’m Kingfisher, ANMLPLNET, Oneida, wyd, Western Scene, Bad BreedingThe Drums, Bob HolroydWill Stewart, Varvara

Jerry David Decicca, Redolent, Lokki, ROOS, QWAM, Water From Your Eyes, Old S Resort, Jesse Merchant, Dead Sullivan, John Moods, They Might Be Giants, Cool Ghouls, Strawberry Mountain, The Low Anthem, Peacock Affect, The fin., Ezra Feinberg, EMA, Sloan, The Voidz, VOWWS, Nature Shots, Narrow Head, Sleepyhead, Bob Holroyd, Virginia Wing, Orchid MantisYoung Statues, Kate Teague, Leyya, Pinky Pinky, Mind Over MirrorsWalter Martin, Beach House, The Sea and the Cake, Alice Bag, Eels, Hero-Fisher, Andy CookDatarock, Dabrye, Swear TapesTerra Naomi, FeverbonesPariuh, David Byrne, Palm, Youth In A Roman FieldKid Koala, LokkiHelena Deland

Freedom Fry, ARXX, Troels Abrahamsen, Young Fathers, Post Louis, SpandrelsHannah Epperson, Saw Black, Iceage, Dylan CarlsonAmerican Pleasure Club, Swampmeat Family Band, Pearl Charles, Chez Ali, Compltr, Refrigerator, The Nectars, Candy Ambulance, Death, Jack Watts., Simon D JamesToebow, yndi halda, SabiyhaEllie Schmidly, Sitcom, Doby Watson, Laura Veirs, Lost Horizons, Lost Under Heaven, Andy Jenkins, Guts Club, Yo La Tengo, Media Jeweler, The Saxophones, Hum, Margaret Glaspy, Cary Illinois, Susan the Cat, I Hate You Just Kidding, Tee Grizzley, Barren Womb, Madeline Kenney, I Think Like Midnight, Spirit In The Room, Torgeir Waldemar, LuxGaze, and Japanese Breakfast.

MUSIC VIDEOS

Ought, Parquet Courts, Shy Kids (x2), Caroline Rose, Billy Moon, Screaming Females, Car Seat Headrest, Current Joys (x2, 3, 4), Somehow, Night Flowers (x2), Palehound, Heaven, Look Vibrant, Pip Blom, Ultimate Painting, Royal Brat, CorridorFalcon Jane, Olden Yolk (x2), Stella Donnelly, Nap Eyes, Winter, Wendyfix (x2), Dusted, Superorganism, Pale Kids, Z Berg, Son Lux, Palm, The Spook School, Clint Michigan, Girl Ray, Rostam, Japanese Breakfast, OdinaFrankie Cosmos, Von K, Dogeyed

Shopping (x2), Speedy Ortiz, Treehouses, Holiday Ghosts, Sports Team, Sonny Smith, Bully, Tremends, Bethlehem Steel, Soccer Mommy, The ArmedPJ Harvey & Harry Escott, Lucy Dacus, Moaning (x2), Cloud Castle Lake, Albert Hammond Jr., Chris Dave and the Drumhedz, FlasherNative Sun, Emma Tricca, Partner, Drowse, Barren Womb, Martha Ffion (x2), Honduras, S. Carey, Middle Kids, Newspoke (x2, 3), Callow, Charlotte Day Wilson, Suuns, Goat Girl, Shamir, Death Bells, Guppy, Half Waif (x2)

ROOS, Natalie Prass, Cornelius (x2), Peach Kelli Pop, King Tuff (x2), The Winter Passing, Renata Zeiguer, La Luz, Bat Fangs, Jess WilliamsonSkating Polly, Lionlimb (x2), Charlotte Gainsbourg, Michael RaultGianni Paci, Queen of Jeans, Dirty Fences, Sorry, Wiggy Giggy, Lemuria, Tough Age, Yours Are the Only Earsnothing,nowhere., Jack Ladder & The Dreamlanders, Kal MarksScuffleSløtface, Kal Marks, Coping SkillsLauren Ruth Ward (x2, 3), Charmpit, They Might Be Giants, Hurry, First Aid Kit

Sharon Jones & the Dap Kings, Fun Fare, Daddy Issues, The AmazingJeff Rosenstock, boerdJanelle Monáe, Sc Mira, Ed Schrader’s Music Beat, Surrounder, Iceage, The Go! Team, Mavis Staples, Eels, Margo Price, Titus Andronicus, Alice Bag, Oddnesse, Jessica RiskerFRANKIIEDestroyer, Spinning Coin, Damien Jurado, Ed Schrader’s Music BeatLa Bête BloomsThe Lonely Biscuits, Prawn, Hippo Campus, New Spell, Dream Wife, Echo Pressure, Amen Dunes, Leroy Francis, Laurie Anderson & Kronos Quartet

Montero, ShitKid, The Dazies, Marlon Williams, Lazy DayLaura Veirs, Lily Allen, Fruition, No Age, YACHT, Sunny War, Cut Worms, Glen Hansard, Trevor Ransom, Hannah Epperson, Seafoam, VedeTTClever Girls, In Tall Buildings, Fufanu, Lowpines, Tiny Fighter, The Prids, STRFKR, Hinds, SuperchunkTFS, Tallies, American Pleasure Club, Johanna Warren, Sam Himself, Men I TrustJessica Lea MayfieldA Place To Bury Strangers, Bad MovesRazorbumpsMoviestar, Teen CreepsPoppy AckroydCaroline Says, Charles Howl, Loma, Fontaines DC, CrumbAlessi’s Ark, Jenny Wilson, The Regrettes, Bummerville, GluedTenderfoot, Tree House, Susie Q, and si,irene.

FULL STREAMS

Vundabar, Hello Flora, Emily Yacina, Kal Marks, Harmony Tividad, Corey Flood, Johanna Warren, Palm, Plain Dog, Candace, Hovvdy, American Pleasure Club, Bat Fangs, Dark Thoughts, Poppy Ackroyd, Erik Phillips, Grave School, Cameron Boucher/Field Medic, The Number Ones, Margaret Glaspy, The Hold Steady, Guided By Voices, Superchunk, Bleary, Lillet Blanc, Hurry, Bedbug, I Hate You Just Kidding, Sidney Gish, weary, ther, Sunshine Faces, Elan Noon, Bodies Be Rivers, Hex, Hobbyist, Las Rosas

Dryspell, Rik & the Pigs, Amaya Laucirica, No MuseumsZinskē, First Thought Worst Thought, Sur Back, Little Star, Mind Spiders, Lowpines, Shopping, Mimicking Birds, Scrap Brain, The Go! Team, Th Da Freak, Shareef Keyes & The Groove, ShitKid, Unlikely Friends, Kid Dakota, Lightwash, Berry, Matthew Politoski, Holy Motors, Blushing, Shakey Graves, Tim Kuhl, Pando, Leyya, Shamir (x2), bristletongue, Dealer Plates, Hank Wood & the Hammerheads, closer, Bummerville, Tropical Trash, Brutal Birthday

Special Explosion, Hookworms, Lisa/Liza, Russian Baths, VOWWS, A Lily, Caroline Says, BB & The Blips, Listener, Balkan Bump, Martha Ffion, Corniglia, Qwam, HOLY, Spice Boys, Hour, Conviction, Cassandra Jenkins, Refrigerator, Sweeney, mita, and compilations from Z Tapes and Emotional Response (x2).

2016: A Year’s Worth of Memories (Lily Mastrodimos)

Heartbreaking Bravery recently went offline but all facets of the site are back to being fully operational. Apologies for any inconveniences. All posts that were slated to run during that brief hiatus will appear with this note.

Last year, Lily Mastrodimos turned in one of A Year’s Worth of Memories‘ most definitive pieces. It was an uncompromising look at depression and learning to navigate that with different methods of self-care. It’s an honor to be hosting yet another Mastrodimos piece as part of this year’s edition of the series and this time around the musician’s turned in another definitive entry. The Long Neck mastermind (and Jawbreaker Reunion guitarist/vocalist) once again grapples with grief, loss, and finding strength and comfort through music. Tragic, absorbing, and uplifting, it’s more than worth the read.

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My family lost 3 grandparents in 2016: my maternal grandmother (Nana) and both of my paternal grandparents (Yiayia and Pappou). Nana left us on January 20, Yiayia passed away on February 23, and Pappou passed several months later on September 13. I find it overwhelmingly difficult to separate everything I experienced or did this past year with the grief that my family and I felt. It is so deeply ingrained in 2016, and sometimes I see it as two arms holding everything I did this year close to its chest and refusing to let go. 2016 was a big year for me scientifically and musically, but the grief I felt fused more closely to my relationship with music, becoming a part of everything I wrote or played or listened to throughout the year.

I associate Nana’s passing with the Adult Mom/Jawbreaker Reunion tour, Yiayia’s with the Titus Andronicus show that let my sister and I shed the pain of the previous month and a half, and Pappou’s with the end of the gobbinjr/Long Neck tour. It felt like everything I did in between their passings was already defined by them, and it became a daily challenge to figure out how I would cope with the weight of each.

Nana’s passing had cut me down and kept me down for what felt like eternity. She had always been so supportive of both my musical and scientific aspirations, though she put more emphasis on my biological pursuits. Nevertheless, she would mail me newspaper articles about interesting bands or performances, and would insist that I write a ballad for the next JBR album. When she left, things froze and I felt like I was sinking. Yiayia’s passing sucked what remaining energy I had left away from me. After seven months of working through the pain and feeling like I was getting better, Pappou’s passing brought a strange and heavy weight to my shoulders.

I came to recognize that grief feels like a standstill, and the grief that follows the death of a loved one was one that I had not felt before. It was immobilizing and overwhelmingly exhausting. My grief settled in the center of my chest like a pile of stones, crushing the air from my lungs and sending out waves throughout the rest of my body. I was depressed and felt hollow. Things felt surreal. Days were interminable, and I couldn’t bring myself to get anything done.

Everything I was, everything I encountered, every inch of space that surrounded me, felt monstrously heavy. I was becoming increasingly anxious that I was blurring the line between self-pity and the pain of grief, terrified that I was growing lazy and comfortable within the shell that mourning had built around me.

Writing kept me busy and gave me something to do while I tried to make sense of everything I was feeling and processing. Most of the music I wrote during this time was either quiet and hushed or very loud, with no real in-between. It felt like the louder songs took longer for me to work on, like I had to find the energy to sing them. Playing shows with JBR and Long Neck also provided relief through consistent bursts of energy, even if singing certain songs made me feel raw or exposed, like I had to relive everything I was feeling or thinking word-by-word.

When I got back home, I’d retreat to my room and try to muster up the fortitude to go over the quieter songs, the ones that specifically focused on loss and mourning, the ones I wrote for Nana, the ones I wrote to help me figure out how I could feel better. While some of these songs will never see the light of day, they allowed me to channel the grief I was feeling into something, anything.

When I wasn’t writing or playing, I found refuge in Battle Ave, Titus Andronicus, Mitski, Jeff Rosenstock, PUP, Chumped, the So So Glos– bands whose music I could scream to in the car when I needed to release my anxiety or tension. My job had me working throughout the northernmost regions of New Jersey, close to the New York border. I’d drive around the forests of Passaic and Bergen counties, past lakes and reservoirs and mountains, haunted roads and abandoned tourist attractions.

The silence and isolation of this part of the state was soon filled with the crashing sounds of guitars, the bittersweet words of strangers, the driving and soul-shaking bass tones, all swallowing me in a sea of noise within the confines of my old car. It was a kind of escapism that let me drown out my own frantic thoughts with something louder, something I could lend my voice to and still feel like I was beating back the sadness.

I realize now that much of what I listened to in 2016 was music that tied me to land, to my favorite places, to my home or the places where I felt home. Battle Ave’s Year of Nod, for instance, brought me back to the woods upstate where I had found comfort during other tumultuous times. Titus Andronicus reminded me that I could never be truly lost or alone in my homeland of Jersey, and I found myself listening to The Monitor most of all. For my sister and I, “The Battle of Hampton Roads” became something like our own battle cry- especially at the last line (“I’d be nothing without you, my darling, please don’t ever leave”).

When we saw Titus in February, hours after attending Yiayia’s funeral, we received a shot of catharsis that we desperately, desperately needed. We could hardly believe it when the first chord was struck for “Battle”, and spent a majority of the song screaming along. When the last line came around, we lost it. Suddenly, we were heavily sobbing, hugging each other and shouting “Please don’t ever leave” through the tears. The last few months washed over us in a bitter and acute sense of grief, then quickly melted away and left us with immense relief, joy, and peace. We left the show amazed, empowered, hopeful, and for the first time in a long time, happy.

For the most part, the music that got me through the year focused on relationships, on connections, on the love we have for our friends and our family, on the importance that these people hold in our lives. It was the music that you and your best friends or your sibling would scream to each other in a big crowd.

And we drank, and we talked shit, and I was happy” (“Name That Thing”, Chumped)

“Do you believe in something beautiful? Then get up and be it” (“Me and Mia”, Ted Leo & The Pharmacists)

Music that is loud and commands you to let people know just how much they mean to you, and how you would feel if they were suddenly gone.

“I’d be nothing without you, my darling, please don’t ever leave”

“I gotta let you know while you’re alive cos I’ll be a disaster when you die” (“…While You’re Alive”, Jeff Rosenstock)

“I look up at the gaps of sunlight. I miss you more than anything” (“Francis Forever”, Mitski)

Music that reminds you that it’s OK to take breaks, but you have to fucking get up and keep moving, as seemingly impossible as that feels, because this cannot break you.

I called up some folks I truly love and hung up after they said hello. I got so tired of discussing my future, I’ve started avoiding the people I love” (“Nausea”, Jeff Rosenstock)

“This winter hasn’t been so rough. Oh it was cold, but it wasn’t cold enough to freeze the blood between my spine. And at least I survived” (“Dark Days”, PUP)

Then there was the music I actually made with my best friends. The shows I played towards the end of the Adult Mom/JBR tour– and the enormous support of my bandmates and tourmates– helped me get through the news of Nana’s hospitalization and her declining health. The release of JBR’s second album and the show we played to celebrate it filled me with a tremendous sense of pride and joy that left me elated and filled with so much love.

When I started feeling small or uncomfortable or anxious in the area I call my home, Long Neck shows and practices reminded me that I could carry the grief I had without feeling ashamed, and my bandmates were there to help me find my footing again. Our tour with gobbinjr felt like an amazing dream, and in recording our second album I can revisit everything I felt in 2016 without feeling heavy, lost, scared, or alone, because I have them.

In 2016, music reminded me that when your loved ones leave you, it doesn’t mean love itself is gone. If anything, you begin to see the love that you have in your life more clearly. You want to take everyone in your life and write them long letters expressing how much you love them, so they can have a physical record of it. You want to savor every moment you spend with your family and your friends and your pets and hell, even strangers or vague acquaintances. You become increasingly nostalgic, and while at times the memories sting you, eventually they flood you with warmth and you quietly give thanks to the time you were given with people who have come and gone.

I would be remiss if I didn’t take a moment to thank everyone who helped me make it through the year. I won’t name everyone, because it’s a fair list, and chances are you already know who you are. (If you don’t, be sure that the next time I see you, I will hug you and tell you in person.) But I want you to know that I am so immensely thankful to have you all in my life, so grateful for everything you did for me. I want you all to know how much you are cared for, how much you are appreciated, how much you are loved. For the new year I resolve to be more open and honest with the people in my life, take more risks, be more thankful and live without fear, and be as available and kind as best I can, and not take the people in my life for granted.

We all grieve differently, and I’m not going to pretend to speak on behalf of everyone who has ever lost someone and mourned gravely and deeply. My grief was and is my own. It took me nearly the entirety of 2016 to start feeling O, to understand that there is no limit for the time you can spend grieving. There are days that are still tough, and as we’re nearing the end of January I know that things may start feeling weird and off and tough again. But I am more confident now that I’ll make it through. I will be OK because love still exists and will continue to exist, because I will keep making music no matter what, because I am surrounded by amazing and supportive and caring people, and life will keep moving forward.

Watch This: Vol. 144

To ease Watch This back into its regularly scheduled rotation, the following will focus on the two weeks that occurred after the last installment was published. In that time, Acapulco Lips (x2), Wasted On You, Chain of Flowers, Pinegrove, Peter Bjorn and John, Sunbathe, Good Personalities, Bad Cop / Bad Cop, Claire Cottrill, The Brokedowns, Kississippi, Haley Bonar, Billie Marten, Bayonne (x2), Entrance, Lush (x2), The Blank Tapes, JFDR, The Frights, Teleman, The Districts, Doe, Marissa Nadler, Joshua Bell & Jeremy Denk, No Honeymoon, Aaron & Bryce Dessner with Ben Lanz and Boys Noize, BlackGlass, The Minders, Super Furry Animals, Kristin Kontrol, Tenement, Queen of Jeans, Michael Kiwanuka, Breanna Barbara, Corbu, All People, Boss Fight, Margo Price, Titus Andronicus, Brass Bed, Somos, Oliver John-Rodgers, Foxing, The Wombats, and PWR BTTM all found themselves at the center of outstanding performance clips. Competition that strong says more about the strength of the five featured clips that could be conveyed with mere words. All five bands have been featured on the site in the past and the performances range from genuinely exhilarating to utterly devastating. So, as always, sit up, lean in, adjust the volume, block out any excess noise, focus, take a deep breath, and Watch This.

1. Never Young – Soap (Prisma Guitars)

Immediately kicking things back into the highest gear possible is this Prisma Guitars session from site favorites Never Young. Easily one of the most explosive single-song performance clips to ever be featured throughout the 140+ installments of this series, the quartet careens through an adrenaline-inducing take on “Soap” that sees them giving the session their everything. Beautifully shot and presented with an enormous amount of conviction, this is exactly the type of clip that Watch This was built to celebrate.

2. Greys (KEXP)

Greys have made several appearances throughout this series’ run and touring on their recently-released Outer Heaven‘s allowing them even more opportunities to be featured. The band recently stopped by the KEXP studios for a full session that features songs from their past three releases, including their most recent work, Warm Shadow. As always, the band plays with a barely-contained energy, an incredible amount of tenacity, and a deep-seated passion that makes this another vital document of one of today’s most exciting acts.

3. Heliotropes – Primates (BreakThruRadio)

For a few years now, Heliotropes have been quietly carving out an impressive name for themselves, earning the respect of both critics and their peers. Creatively restless and endlessly intriguing, the band continues to impress with this BreakThruRadio performance of “Primates”. It’s a glimpse towards the future the band’s angling towards and it’s impossibly tantalizing. One of their finest songs to date, “Primates” keys in on the band’s wiriest post-punk tendencies and sporadically cuts them to shreds. If this is indicative of the rest of the band’s forthcoming material, start bracing for something genuinely explosive.

4. The Coathangers (KEXP)

The second KEXP session of this installment features The Coathangers, who have been touring hard behind their excellent Nosebleed Weekend. Celebrating both that record and the 20th anniversary of the label that released the record, Suicide Squeeze, finds the band in exceptionally high spirits. All of that culminated in an unshakable, infectious joy that drives this session, making it both immediately accessible and surprisingly memorable. The trio remains in fine form throughout the session, playing with ramshackle glee while maintaining an impressively tight grasp on the songs, creating what could be considered a definitive portrait.

5. Nick Cave & The Bad Seeds – Girl In Amber

After enduring unspeakable loss, Nick Cave allowed filmmaker Andrew Dominik into his creative process to create One More Time With Feeling, a documentary that follows both the creation of Skeleton Tree and Cave’s battle with grief in the wake of his youngest son’s tragic death. It’s excruciatingly heartrending from an outsider’s perspective and Dominik elegantly underscores how unthinkably difficult it’d be to be in that situation. In the third studio video to be released from the project, Cave continues to look completely lost and withdrawn, as if perpetually trying to wrestle his thoughts down.

“Girl In Amber” also expertly incorporates Dominik’s inspired direction and the technical wizardry that went into the 3D, black-and-white filming of One More Time With Feeling. The overall effect’s equal parts haunting and haunted, creating an unforgettable impression. This is a staggering work of bravery and artistry, each colliding with the other to produce something as singular as it is captivating. As the camera circles Cave, surveying his every movement and placing him at the center of swirling uncertainty, Cave repeats “don’t touch me” as the video cuts to black, providing one last breathtaking moment of a miniature masterpiece.

Watch This: Vol. 135

In just a little over two weeks an insane amount of quality live videos have emerged, featuring the following artists: Ezra Furman, Woods, Day Wave, Joy Again, You Won’t, Kevin Morby, Acapulco Lips, Sonya Kitchell, Houndmouth, Queen of Jeans (x2), Christian Lee Hutson, Terry, John Congleton and the Nighty Nite, Mothers, Robb Young and the Elms, Marc Ribot’s Ceramic Dog, Kalispell (x2), Fear of MenOsekre & The Lucky Bastards, FitsEmily Blue, Henrietta, Adia Victoria, Ubetcha, The Staves (x2), Arc Flash, Michael Nau, Bewilder, The Jayhawks, Slingshot Dakota (x2), Whitney, Vagabon, Quilt, LAYNE, Rye Pines, Minor Victories, Allah-Las, Esme Patterson (x2, 3), Midijoyful, Secret Space, The Mono Jacks, A Dead Forest Index, Explosions in the Sky, Death Valley Girls, Half Waif, The Albert Square, Your Friend, Marlon Williams, Rogue Valley, Metronomy, Gregory Porter, Summer Twins (x2), Surgeons In Heat, Amy Klein, The Belvederes, Frameworks, Oddisee, CHILDREN, Doubles, Gwenno (x2), and Titus Andronicus.

Looking through all of those, it’s impossible to say that this is a bad time for live music (and for the documentation of live music). The overwhelming strength of that above list should indicate that this installment of Watch This will have some extraordinarily strong features. There’s some astonishing talent on display throughout the three full sessions and two individual clips listed below, which include one of the bands that was essential to the site’s foundation and a few fresh faces that have been turning all sorts of heads with their recent work. So, as always, push all the distractions aside, relax, lean in, and Watch This.

1. Tenement – Feral Cat Tribe + Lost Love Star Lust (Set List)

Anyone that’s frequented this site over the time of its existence has seen an unprecedented amount of praise granted to Tenement, a band that was instrumental in providing the building blocks for this site. Over nearly 10 years, I’ve had the surreal privilege of watching the trio develop to the point they’re at today (Rolling Stone recently named them one of the 10 great modern punk bands and the New York Times dedicated an entire podcast installment to the band last year). Here, the band gets to flash their live chops in a session for Wisconsin Public Radio’s Set List series, offering up an impressively powerful pair of tracks that only hint at the band’s astonishing scope.

2. Car Seat Headrest – Fill In The Blank (The Current)

After 2015’s Teens of Style generated quite a bit of momentum for Car Seat Headrest, the solo-project-turned-full-band capitalized on that surge of recognition emphatically with this year’s Teens of Denial. Landing several high-profile festival appearances as a result, the band’s grown gradually tighter over their past few tours. This performance of “Fill In The Blank” for The Current demonstrates that growth and nicely captures the band’s irrepressible drive.

3. PWR BTTM – West Texas + Serving Goffman (WFUV)

Like Tenement, PWR BTTM have become a towering presence in terms of this site’s coverage tendencies, something that came as a direct result of the band’s fiery live show. Here, the band turn in characteristically bold performances of both “West Texas” and “Serving Goffman” for WFUV, perfectly summarized by the half-shocked, half-elated smile that Benjamin Hopkins throws the camera after some errant headphones threaten to momentarily overtake the song. There’s a genuine joy that exists in that moment which the duo have consistently brought to their shows, making them one of the finest live acts on the circuit.

4. Weaves – Human (Low Four)

Weaves have made a habit out of appearing on the Watch This series this year, thanks in large part to the release of their monumental self-titled debut. The quartet recently stopped by the Old Granada Studios to unleash a sharp burst of their hyper-spastic strain of punk-tinged basement pop by way of this inspired run through “Human”, offering a revealing glimpse at their members formidable chops. As fascinating as it is exhilarating, it’s a perfect example of what can be accomplished by thinking a little outside of the typical boundaries.

5. And The Kids – Kick Rocks + Picture (WFUV)

One of the bands that really started to make a push over the past year has been And The Kids, who have seized every opportunity they’ve been given with a startling amount of poise. WFUV recently had the band into their studio and the trio delivered in full, tearing through “Kick Rocks” and “Picture” in a way that likely left several of the studio members jaws agape. Complex and nuanced, the band flawlessly executes a series of hairpin turns, layered harmonies, and language shifts while throwing in a few sly smiles for good measure. It’s an unbelievably impressive performance and more than deserves to close out this edition of Watch This.

Watch This: Vol. 128

Lady Lamb, Eleanor Friedberger, La Luz, Bob Mould, Tangerine, Weaves, Lacrymosa, Bye Beneco, The Big Pink, Weaves, Sex Tide, David Bazan, Plants and Animals, LUH, The Wooden Sky, Mumblr, Bleached, Adult Mom, Hattie Marsh, Stephen Steinbrink, Destroyer, Mount Moriah, Muuy Biien, Young Magic, The Kills, Adeline HotelDeclan McKenna, Palehound, Friendship, Titus Andronicus, Petal, and Foals all had very strong live videos surface over the past seven days. Unsurprisingly, that cast of titles underscores the strength of the five performance that are highlighted in this, the 128th installment of the Watch This series. I’ve been fortunate enough to catch each of the five acts featured below and can confirm that these captures come close to doing them justice, chronicling their charisma, emotional pull, and talent spectacularly. So, as always, sit up, adjust the settings, elevate the volume, block out all distractions, and Watch This.

1. Seratones (Audiotree)

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.

2016: The First Two Months (Full Streams)

Jawbreaker Reunion II

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.

Jawbreaker Reunion – Haha and then What 😉 || Margaret Glaspy – You and I b/w Somebody to Anybody || Purling Hiss – Something || Kal Marks – Life Is Alright, Everybody Dies || Two Inch Astronaut – Personal Life || Aberdeen – Blue Lemon Demos || ROMP – Departure From Venus || Lucy Dacus – No Burden || Swim Team – Swim Team || Rita Fishbone – Spilt Milk || Hothead – Hothead || Sioux Falls – Rot Forever || Past Life – EP I || Abi Reimold – Wriggling || Nice Try – Nice Try || Krafftmalerei Plagiat || Lawndry – EP || Baby Birds Don’t Drink Milk – Burritos || Mal Devisa – Kiid || Kane Strang – Blue Cheese || Big Ups – Before A Million Universes || Årabrot – The Gospel || Michael Nau – Mowing || Looks Like Mountains – Quick, Before We’re All Dead! || High Waisted – On Ludlow || Sin Kitty – Softer || Rafter – A Sploded Battery || Candy – Azure || Baklaava – Dane On

Fake Boyfriend – Mercy || Axed Crown – Amnesty || Soda – Without A Head || Fucko – Dealing With the Weird || Opposites – Joon II and Got My Cough || Journalism – Faces || Sarah Neufeld – The Ridge || Great Deceivers – Ask Me About Your Strong Suits || Burnt Palms – Back On My Wall || Adult Books – Running From the Blows || Dead Stars – Bright Colors || Acid Dad – Let’s Plan A Robbery || yndi halda – Under Summer || Sheer Mag – III || Edgar Clinks – Bath w/ Frozen Cat || Tangerine – Sugar Teeth || Muncie Girls – From Caplan to Belsize || Risley – Risley || Great Thunder/Radiator Hospital – Wedding Album || Pinegrove – Cardinal || Acid Fast – Last Night on Earth || Making Fuck – Harrowing End || Nick Thorburn – Serial S2 || Fred Thomas – Minim || Dude York – Lose Control b/w Love Is || Self Defense Family – Superior || Jo Passed – Out || POP ETC – Souvenir

Pinkshinyultrablast – Grandfeathered || Nap Eyes – Thought Rock Fish Scale || Art Week 2016 || Crater – Talk To Me So I Can Fall Asleep || Tuff Love – Resort || The Castillians – You & Me || Sitcom – Gig Bag || Howardian – A Smurf at Land’s End || Mass Gothic/Ex-Amazed – Split || Step Sisters – Thick || Rob Crow’s Gloomy Place – You’re Doomed. Be Nice. || Washer – Here Comes Washer || Titus Andronicus/Craig Finn – No Faith/No Future/No Problem || Frameworks – Time Spent || I’m An Island – Bored Days, Old Years || Wussy – Forever Sounds || Nathaniel Bellows – The Old Illusions || Keeps – Brief Spirit || Serac – Songs for the Broken Hearted || This Heel – This Heel III || Cotton Ships – Cotton Ships || Truly – Henry || Acid Tongue – The Dead Man’s Cat Walk || Dying Adolescence – Dear You, It Can’t Wait. || Proud Parents – Sharon Is Karen || Cayetana – Tired Eyes

JOYA – Surround b/w Kitsilano || The Two Tens – Volume || Leggy – Dang || Cellar Doors – Frost b/w Prism || Celebration Guns – Quitter || Quarterly – Quarterly || Hollow Hand – Ancestral Lands || Sierpien – Stench Up to Heaven || Cherry – Gloom || Relick – Twin House || Sun Dummy – Bunny || Lionlimb – Shoo || Tiny Knives – Black Haze || Chives – Drip || Chris Storrow – The Ocean’s Door || Bombay Harabee – Goldmine || Swaying Wires – I Left A House Burning || The Spook School – Binary / David Bowie Songs || Tender Defender – Tender Defender || Mozes and the Firstborn – Power Ranger || DRÆMHOUSE – Only Friends || Molly Drag – Tethered Rendering || Black Thumb – Black Thumb

2015: A Year’s Worth of Memories

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Before I dive into what made 2015 such an incredible year for me on a personal level, I’d like to take a moment to acknowledge all of the contributor’s to this edition of A Year’s Worth of Memories: Loren DiBlasi, Lindsey-Paige McCloy, Sabyn Mayfield, Nicola Leel, Lindsay Hazen, Tica Douglas, Fred Thomas, Phil McAndrew, Isabel Reidy, Jessica Leach, Sami Martasian, Ben Grigg, Amanda Dissinger, Bella Mazzetti, David Anthony, Jamie Coletta, Chris Sutter, John Rossiter, Cole Kinsler, Megan Manowitz, Gabriela June Tully Claymore, Stephen Tringali, Alisa Rodriguez, Toby Reif, Elaiza Santos, Amelia Pitcherella, Katie Bennett, Miranda Fisher, Christine Varriale, Sam Clark, Julia Leiby, Kelly Johnson, Jessi Frick, Nicholas Cummins, Lily Mastrodimos, Jerard Fagerberg, Athylia Paremski, Eric Slick, David Glickman, and Ryan Wizniak. All of your interest, support, and contributions mean the world to me (more on that below).

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The 12 months that comprised last year were among the most rewarding, the most challenging, and the most outright surreal I’ve experienced in my 26 years of existence. Narrowing it down to one defining moment proved to be a laughable impossibility for me so I’ve taken a cue from several of this edition’s contributors and decided to focus on a series of moments rather than one overarching event.

Before getting to those, though, it’s worth mentioning several of the smallest moments that have managed to stick in my memory. That list goes as follows: drinking tea on the roof of DBTS with Greg Rutkin as we watched the sun rise on my first morning in Brooklyn, looking up a few months later only to suddenly realize that Rutkin, Krill‘s Aaron Ratoff, and myself were all having a half-absent living room jam session, eating bagels on the sidewalk at the crack of dawn with Saintseneca after spending the previous night getting ridiculous at Rocka Rolla, feeling a surge of pride watching Patio play their first show, and getting recognized by Rob Sheffield and Simon Vozick-Levinson (two writers who I’ve admired for years).

Additionally: being pulled further and further into the world of Ronnie Stone, spending an afternoon kicking around with Bad Wig (a WI band made up of people I’ve considered family for years), watching Tenement continue their steady ascension on their own terms, all of the shows I saw that don’t get mentioned in the space below, walking through one of Martin Scorsese’s sets for VINYL with Glueboy‘s Coby Chafets (who was an absolute joy to have as both an NYC guide and as a roommate), being absolutely destroyed by an overwhelming sense of familliarity at a morning screening of The End of the Tour which I was fortune enough to take in with Chandler Levack (one of my favorite directors), and becoming a member of Film Independent.

Further still: getting hugged by Eskimeaux‘s Gabrielle Smith before I could even get out a formal introduction, having Girlpool‘s Harmony Tividad tell me she knew how to spell my last name right after we first met, spending a perfect evening getting to know Callan Dwan (who I’ve been messaging every Sunday since we first met) and Casey Weissbuch following one of their shows playing alongside Mitski, receiving a drunken group phone call from my closest hometown friends on the Fourth of July, and finding the fortune to be a recipient of the continuous support of both Exploding In Sound‘s Dan Goldin and Father/Daughter‘s Jessi Frick.

As well as: feeling completely at ease working doors for both Baby’s All Right and Elvis Guesthouse (a task made even more enjoyable by the welcoming presence of Alex Lilienfeld), spending my first week in Brooklyn waking up to the sounds of Felix Walworth meticulously tracking the forthcoming Told Slant record, and traveling to the twin cities with one of the bands I play bass in — A Blue Harbor — to track Troubled Hearts (and holding the cassette for the first time, suddenly realizing I’d just completed something that had been on my bucket list for over a decade).

And finally: Watching members of Lost Boy ? and Titus Andronicus close out a show at Shea Stadium with a set of on-the-fly Neil Young covers, taking in Exploding in Sound’s Extended Weekend celebration (and being floored by Stove‘s performance of “Wet Food” and — as always — Pile‘s “Special Snowflakes“), feeling a deep sense of camaraderie and an inkling of pride during AdHoc’s Carwash showcase, seeing Used Kids come inches away from reuniting at The Acheron (their only full-length remains quintessential summer listening) during a show that also saw Jeff Bolt manning the kit for Benny the Jet Rodriguez, and spending half a year living in a city where a handful of people actually seemed to care about the work I’d been doing with this very site.

I could go on and on (and on) about the overwhelming bevvy of small moments that I continue to look back on with great fondness or wax ecstatic about the steps taken in 2015 to ensure a more inclusive climate in the music industry (while still recognizing there’s a long way to go) but, after a while, that would become tedious for just about anyone (myself included). Rest assured, there are several more paragraph’s worth of those moments and the scope of the portrait they illustrate would be overwhelming. As is likely evidenced above, it was tremendously difficult for me to pare down what moment stood out most in my chaotic run through 2015 and left me with no less than a dozen absurdly strong candidates.

While a dozen may seem overly self-indulgent, it’s my belief that these 12 moments form the most complete representation of my year. Most of them are connected to my time spent living in Brooklyn (a city that I came to love and hope to return to as a resident), which helped me not only shape my identity but — possibly for the first time — feel a strong sense of validity in my work. 2015 may have been made up of 12 months but the 5+ I spent living in Brooklyn produced 12 of my favorite moments. All of them are covered below.

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Montana & the Marvelles Play In Secret

The first time I remember realizing that I was exactly where I wanted to be was, unsurprisingly, at DBTS. I’d been sleeping on couches for a few days there by that point and getting the swing of the city while navigating my way through a handful of Northside showcases. During that first run, the place was buzzing with both anxiety and excitement over a secret wedding celebration that they were going to be throwing for a close friend. Champagne had been bought in bulk, balloons had been floated to the ceiling, a disco ball had been set in motion, a taco line had been prepared, and a root beer float setup was at the ready by the time the event was set into motion.

Everyone had been told to dress to the tens and looked the part. At that point, I still felt like an interloper was getting increasingly comfortable with my new surroundings. Nearly everyone I’d been introduced to had been extremely welcoming and the first group of people that had made a kind gesture were Montana & the Marvelles, who were wrapping up a rehearsal when I first stepped foot inside of DBTS. The wedding celebration was their first public appearance and they tore into it with a ferocious sense of determination, delivering a handful of great covers in the process.

Watching them that night and looking around at everyone who came out to celebrate reminded me of why I made the decision to move; no other place is as facilitating of those kinds of events (or moments). By the time the band hit their finale — an explosive, joyous cover of Bruce Springsteen’s “Dancing in the Dark” — I was overcome with gratitude and decided, for once, to stop filming and dance. It was also the first of many nights I had that led to everyone taking in the summer night’s breezes on the DBTS rooftop, where I put the finishing touches on my introduction packet for the band. As a whole, it remains one of the times where I felt like I’d actually found a place where I belonged.

Charly Bliss I

Charly Bliss Makes A Formal Introduction at Northside

One of the bands I was most excited to meet at the outset of my move was Charly Bliss, who had topped my EP’s list in 2014. No person had been trying to persuade me to make the move more than their guitarist/vocalist Eva Hendricks, who had been unbelievably supportive of what I’d been doing prior to my discovery of Charly Bliss (that this note had no bearing on the band becoming one of my absolute favorites made the prospect of meeting even sweeter).

I’d been walking around Brooklyn with a few people from DBTS before the Father/Daughter Northside showcase was scheduled to start and had fielded several excited messages from Hendricks before we ran into each other on a street outside of Shea Stadium. Everyone was happy to see everyone else and Hendricks nearly pulled me to the ground with a hug that neither of us broke until after a full minute had passed. After a long round of catching up, the showcase kicked off in earnest and featured a handful of great performances from bands worth their salt.

Charly Bliss closed the night out and opened their set with the still-unreleased “Percolator“, with Jessi Frick firing off streamers at the climactic point of the introduction, providing a moment that felt transcendental. Surrounded by people I loved, seeing a band I’d granted an endless amount of praise (who were then in the process of becoming one of my favorite live acts at a terrifying pace), and being in the presence of both for the first time was an invigorating jolt that moved me more than just about anything else I experienced in 2015. 

Jason Isbell Pulls the Sun Down at Prospect Park

Jason Isbell‘s an artist that I don’t frequently write about on this space — his stature guarantees him press from so many other outlets already — but genuinely love (and have since my first listen of Drive-By Truckers’ classic Decoration Day). For several summers myself and my friend (and frequent bandmate) Jake Wetuski would take out our guitars and cover Isbell songs with each other, trading leads or playing together. When I found out that Isbell would be playing Prospect Park for the free Celebrate Brooklyn series, I jumped at the chance.

A solo train ride over had me thinking about all of the ways my life had changed that summer, about how I spent most of the flight from O’Hare to LaGuardia listening to Southeastern, about how I was already pining for the company of certain people but finally becoming content with my place in the world. The sounds of Dawn Landes‘ set guided me through Prospect Park to the stage, where I immediately found a place with a good view of the stage that didn’t obstruct or impede anyone else’s view.

Less than forty minutes later, Isbell was setting up on stage and announcing that his wife and bandmate, Amanda Shires, wouldn’t be joining them because she was expecting the arrival of their newborn in the following week. Gleaming with pride and amping up the “aw, shucks” Southern charm, Isbell took advantage of an absolutely perfect spring night and delivered a deeply heartfelt set of material that I’d been waiting years to see in a live setting. It only took about half of a set before I had to fight back tears, as an adoring crowd exploded with applause in the middle of a mesmerizing performance of “Cover Me Up” in response to a key line about sobering up, showering the songwriter with a tremendous display of affection, support, and actual love.

After the sun set and the crowd had exploded in frantic applause after Isbell’s landmark set, he returned to the stage. By that point, the sun had set and no one was making a push for the exit. The band returned, one at a time, slowly locking into “Danko/Manuel“, a song he penned for the Drive-By Truckers as a tribute to the influential members of The Band.

As the song opened with “let the night air cool you off”, it felt as if everything outside of that moment had ceased mattering; this was Isbell’s triumphant 2015 run hitting an apex and seeing a talent like that find the audience and respect he’d so richly deserved for close to 15 years was beyond heartening. Few things gave me as much hope for the future as that specific moment, one that offered up definitive proof that hard work, dedication, and sheer artistry can be rewarded in the way they deserve.

With Isbell’s vocals floating off into the distance, beyond the sea of people seated on blankets in the grass behind the main area, I found something resembling faith and knew that in both New York and Wisconsin, I’d surrounded myself with the right people, people I believed in, and that no matter the slew of hardships I may have to face, that they’d ultimately guide me to the right place. I stayed in that park, staring at that stage, for as long as I was allowed, before removing myself from the spot where I knew I’d wind up okay.

“Doomsday” Lives Up To Its Name at Pier 84

Another free, outdoor show I had the good fortune of attending saw Weyes Blood, Speedy Ortiz, and Waxahatchee joining forces for a mid-day show on a pier in Manhattan overlooking the Hudson River. After a quick stroll through Times Square, I headed for the pier and met up with a handful of my closest friends who were listening to strains of Weyes Blood as they enjoyed a makeshift picnic. Before long, Weyes Blood’s set had ended, more friends had made their presence known, and everyone was milling around the front of the stage, taking in both the sunlight and the river’s breeze.

Before Speedy Ortiz’s set started, the weather very quickly became downcast and quietly threatening. Underneath that stormy backdrop, Speedy Ortiz kicked off one of their most impassioned sets to date. I’ve had a range of experiences with Speedy Ortiz over the past few years but none of them quite matched the way that their performance of “Doomsday” affected me on that pier. “Doomsday” has always hit me hard (it’s an easy song-of-the-decade candidate for me) but when Sadie Dupuis and Darl Ferm started into it that day and rain started coming down (and then picking up as the song progressed), it felt otherworldly.

Something in that performance seemed to ignite something in Speedy Ortiz, who seemed to be channeling a series of pent-up frustrations into a staggering set that culminated with a weather-damaged instrumental freakout as the sky was split open by cracks of lightning that appeared over the Hudson River. By then the crowd had dwindled to a select few brave souls who managed to withstand the torrential downpour.

Waxahatchee’s set was, unfortunately, cancelled due to the weather but I lucked into a fitting epilogue via a bowling-quest-turned-diner-adventure with A Year’s Worth of Memories contributor Gabriela June Tully Claymore, her fellow Stereogum writer James Rettig, and a few friends. Desperately trying to get dry using a bathroom hand-dryer, I found myself unable to suppress a shit-eating grin, knowing full well I was wrapping up a day worth talking about for years to come.  

Johanna Warren V

Johanna Warren Serenades the Skyline

I saw Johanna Warren three times in 2015, each one differing radically from the other. The first was an hour from my hometown, where I drove to profile her for Consequence of Second. The second time was a basement show that presented a whole host of memorable moments from my introduction to harpist Mikaela Rose Davis (and the spine-tingling Elliott Smith cover she used to soundcheck) to the fabric of a mothering station getting licked by the flame of a few too many candles and interrupting a performance art piece that saw a woman strip naked, consume her own blood from an IV bag, and spit it back out onto a row of carefully arranged flowers in mason jars.

As wild as that basement show was, Warren’s last-minute performance on a rootop overlooking the skylines of both Brooklyn and Manhattan was the one that stood out most. After the show’s original location notified Warren that they’d discovered they had a bed bug infestation the day before her set was scheduled, a group of people worked extremely hard to locate a new venue. Fortunately, Damon Stang had open space on the top of his apartment complex.

Only a dozen or so people showed up, all apparently friends of Warren’s, contributing even greater intimacy to an already intimate evening. An assortment of wine, liquor, and bakery items were all up for grabs and everyone quietly talked among themselves as night swiftly descended, providing Warren with a suitably quiet backdrop. Lit by only the lights of the city and operating without a microphone, Warren delivered a haunting set to a captivated audience that reveled in the majestic sweep of the backdrop, the performance, the night itself, and the experience as a whole. Unexpected and surprisingly moving, it saw Warren fully realizing the effect of music as a healing agent and close a few wounds in the process.     

PWR BTTM Hands Out Ugly Cherries

One of the first bands I ran into after moving to Brooklyn was PWR BTTM, who would very quickly become close friends. They’re people that I’m continuously grateful to have in my life and it’s been an honor to get to know the band’s members. I was very quickly drawn to them for not just their music but their outspoken stance on their values (and their willingness to make them so abundantly clear in any applicable scenario). For all of those reasons and many more, I was tremendously excited to be at their release show for Ugly Cherries, one of my favorite records of 2015.

Charly BlissEva Hendricks had baked a gigantic batch of cupcakes adorned with cherries for the occasion, guitarist/vocalist (and occasional drummer) Benjamin Hopkins had hidden the evening’s outfit away at a thrift store for weeks before claiming it prior to the show, and the opening lineup of Kississippi, Fern Mayo, and Charly Bliss was suitably stacked. The parents of a few of the bands were in attendance and Silent Barn was unbelievably packed.

Three strong sets into the evening and a visibly nervous Hopkins was setting up on stage as drummer (and occasional guitarist/vocalist) Liv Bruce adjusted the kit. I’d seen PWR BTTM a handful of times leading up to that show but none of those sets were adequate preparation for the outpouring of energy from both the band and the audience of their set that night, which felt as much like a celebration as it did a victory lap. Amid screams of “I love you” and “you’re amazing”, PWR BTTM’s songs took on the magnitude of anthems and were, appropriately, granted the requisite scream-a-longs by a dedicated and devoted audience.

For all the moments of blistering energy, disarming sincerity, and delightfully irreverent snark, one of the moments that’s stayed with me was the unveiling of a new song that saw Hopkins pick up a bass and deliver a tender ballad about feeling completely dismantled by different forms of slight abuse, causing Charly Bliss’ Hendricks to break down in tears on the side of the stage, overwhelmed by feelings of protection, love, and empathy. That it came towards the end of a riotous set only heightened its impact, leaving a sold-out room unified in small devastation.

Before long, though, spirits were at the ceiling again and PWR BTTM’s dresses were more than halfway off, and hundreds of people were nearing a state of delirium. Encore chants were inevitable and when the call was swift and immediate, those pleas were rewarded with a frantic rendition of “Carbs” before Hopkins and Bruce exited the stage, visibly exhausted, and subjected themselves to a seemingly endless swarm of overjoyed embraces from a community that rallied behind them and got to take part in a moment that carried significant meaning for far more people than either Hopkins, Bruce, or Fern Mayo’s Nicholas Cummins (who joined the band for several songs) could have ever anticipated.

Mike Krol

Mike Krol Does the Upper Midwest Proud at Baby’s All Right

Before the first Heartbreaking Bravery showcase, the last two shows I’d booked had both featured two bands who had a tremendous impact on my life and musical development: Good Grief and Sleeping in the Aviary. Both bands, sadly, have long ceased operations, though their various members still play together in a handful of projects.

In 2015, Sleeping in the Aviary managed to have somewhat of a resurgence, with both the release of an astonishing outtakes collection ad 80% of the band’s final lineup once again combining forces as Mike Krol‘s backing band. Krol had relocated from the upper Midwest to California on his way to delivering 2015’s blistering Turkey, one of the year’s most exhilarating records (and his extremely unexpected but entirely welcome debut for Merge).

Krol’s stop at Baby’s All Right came shortly after I’d started picking up shifts at the door, pushing my anticipation for the show to even greater heights (it was a show that’d been circled on my calendar in the immediate moments following its announcement). Being connected to yet another venue that would be playing host to a few familiar faces, a few of which I’d grown up playing shows with, felt like an oddly appropriate next step.

The night’s opening bands delivered solid sets but what Mike Krol & co. delivered on that stage that night was unforgettable. Fully attired in the record’s signature fringe’d-up police attire, the band meticulously covered the perimeter of the stage with razor wire and carefully placed a series of lights in the open spaces among the coils. A few minutes later and the band was off, immediately at full-throttle. Out of sheer curiosity, I glanced over my shoulder at the size of the audience and was met with the vision of a sold-out audience all incredibly excited to throw themselves into celebrating an artist that, up until 2015, was only known in select circles for two sharp bandcamp releases.

Krol and his band covered close to his entire discography on that stage, whipping the sizable audience into an absolute frenzy. A surging sea of implacable bodies spiraling aimlessly into each other contributed to the anything-goes attitude that informed the band’s set (a welcome reminder of Sleeping in the Aviary’s heyday). Towards the end, the person running house lights could no longer resist sitting still and slyly tried to supplement the band’s light setup, prompting a startled “what the fuck was that?!” from Krol himself, followed shortly by a “do that again!“, which was delivered with a reckless excitability.

From that moment onward, the band’s seemingly full-blast attack was buoyed even further by a series of frantic lighting triggers from the person manning the boards for their house. As the lights danced all over the iconic backdrop and the overhead lights fell into patterns that complemented the band’s self-triggered perimeter strobes, the entire place descended into something approaching mania. Everything came to a head in their explosive finale and left an entire room of people staring dumbfounded at a stage, equally unsure of what they’d just witnessed and grateful that they were able to take in something so unapologetic in its blistering intensity.

Making the night even sweeter was an unexpected greeting from Krol, who I still hadn’t officially met at the time, after noticing my National Beekeepers Society shirt. We talked Wisconsin music, met up with the rest of the band and a few mutual friends, and Krol let slip that their was going to be a secret Daughter show to close out the venue’s night slot. I wound up making my way into the Daughter show and was blown away by their new material (they announced Not To Disappear at that show and froze my blood with a startling rendition of “Doing The Right Thing“) but couldn’t shake the feeling of overwhelming giddiness from having witnessed some friends from my old home absolutely take apart my new one.  

A Night Out With Nina Corcoran and Paul Thomas Anderson

When I first met Nina Corcoran, we were both looking for each other and completely unaware we were standing less than 10 feet apart. It was at Pitchfork 2014 and we were both lined up to get a good view of St. Vincent (who, as expected, turned in a mesmerizing set). I remembered being a little nervous around her as I still had no idea who she was beyond someone who wrote at Allston Pudding that A Year’s Worth of Memories contributor Christine Varriale thought I’d get along with nicely.

It may have taken about a year but Christine’s assumption seemed almost eerily prophetic. For the first edition of A Year’s Worth of Memories, Nina took me by surprise and included me as a focal point in her piece. After that piece renewed a dialogue between the two of us, it started gradually expanding. After establishing a mutual love for all things Meat Wave, we started talking on close to a weekly basis. Before long, I was living in Brooklyn and we were making plans to meet up on her trips to the city.

We’d met up for meals and all too brief hangout sessions whenever we could but the only time we managed to be in the same place for more than an hour was when we attended the premiere of Paul Thomas Anderson’s Junun at the New York Film Festival. I’d been debating on whether or not to make the effort to go due to an attempt to fight back the irritating plague that is the common cold. I told Nina what was happening and she was empathetic, displaying a casual grace in her understanding.

I missed her, though, and had never had the opportunity to attend a premiere, much less one with an accompanying Q&A from a massively influential director (or one that was responsible for a few of my favorite films). After grabbing a packet of kleenex and a warm sweatshirt, I made the trek out to meet Nina in Manhattan. She immediately greeted me with a warm embrace, making me feel both welcome and comfortable rather than the cold-addled burden I half-expected I’d wind up being.

With the start time of the film still a ways off, we decided to grab some soup from a nearby stand that supplemented our containers with an apple, bread, and pieces of chocolate. I refrained from adding ice cream onto that haul for fear of negatively affecting my health but Nina couldn’t resist its pull and led me to a cute shop that was in the area. After learning I still hadn’t been to Central Park, we walked through its gates and found it to be mostly abandoned, settling down at a table near the grass to quietly eat dinner and discuss the merits of Me and Earl and The Dying Girl, among others.

After we’d finished our meals, we took a nighttime stroll through the park, coming to a stop at a baseball diamond. We stood there together, silent for a moment, before turning around and immediately realizing our size (and our place) as we stared up at the lit-up skyscrapers that comprise the Manhattan skyline. In those fleeting seconds, I forgot everything that wasn’t the fact that I was happy to be sharing this view with a person who’s meant more to me than she’ll likely ever know or realize. I don’t remember what broke the silence but I’m grateful for the small eternity where, cold and all, life felt perfect.

It was difficult to leave that spot but we had a film to catch and while Junun was every bit the film I’d hoped it would be, it paled in comparison to realizing I was wrapped up in something exceedingly lovely and utterly intangible with a person I’ve come to genuinely care for, a person who’s continuously succeeded at an impressively high level, a person who’s constantly given me something to aspire to, a person that’s shown me a lot of my goals aren’t as far away as I occasionally think, and a person who never fails to make my life feel a little more worthwhile.

We’d meet up a few weeks later for a surprisingly painful goodbye brunch before I made my way back to Wisconsin (a state where we’ve both resided) and nearly refused to let go of each other out of the sheer fear of being separated by a seemingly incalculable distance. During that last embrace, I closed my eyes and, for a split second, saw the lights of those buildings that towered over us that night in Manhattan.   

Dilly Dally

Dilly Dally Steals CMJ (With An Unexpected Assist)

My time spent living in Brooklyn was book-ended by the Northside Festival and CMJ, with each providing a whole slew of moments I’ll recall fondly years down the line. Whether it was meeting the people I’d waited so long to meet at the former or celebrating with the people I’d come to know at the latter, each was at least partially defined by an unavoidable sense of community.

CMJ may have had its first two great moments come by way of some of my closest friends (a pizza run with Bad Wig and a Chinatown trip with Perfect Pussy) but my priority for the festival was to do something I’d been desperately hoping to do for the past few years: take in a Dilly Dally set. I didn’t have to wait long, as the first night I went out to CMJ was closed out by the band, I just had to come to terms with my near-crippling fear that their set might be a disappointment. As is often the case, that thought was absolutely demolished mere seconds into listening in on their soundcheck.

While a surprisingly large amount of people had filtered out of Santos Party House’s unbelievably stacked NME showcase by the time Dilly Dally took the stage, they still managed to fill the venue’s basement with legions of people caught between nervous excitement and the early signs of sleep deprivation/fatigue. It only took Dilly Dally a few notes to ignite the room with a thunderous sound that sounded like it was threatening to overtake the sound system’s capacities on more than one occasion.

Everyone in that band put absolutely everything on the line for that performance, diving deep and coming up with a punch ferocious enough to knock even the harshest cynic for a very disorienting six. Guitarist/vocalist Katie Monks unleashed a series of guttural yowls while guitarist Liz Ball tore into one scintillating lead line after another while the rhythm section provided an overwhelming show of force that generated enough power to shake my frame.

As was expected, many of the night’s highlights came courtesy of the live versions of the songs that made up Sore, their brooding full-length debut. Another small handful came from their brilliant early 7″ releases but the moment that I felt myself practically leave my body was when they tore into an absolutely vicious, if miniature, take on Drake’s “Know Yourself” that featured one of the filthiest bass tones I’ve ever heard. Jaw agape, I was standing motionless, hopelessly filming the spectacle while keeping my eyes off of the camera and frozen to the stage, at once separated from and completely tuned into the reality of the situation.

Easily the absolute heaviest thing I heard last year, the band wound up reprising it a few days later during another impressively explosive set at Baby’s All Right for BrooklynVegan’s CMJ showcase, which I sprinted a full mile to make sure I caught. Both of their sets demonstrated the impressive scope of the band’s singular power as live performers and laid just about everyone else who played CMJ to complete waste. No band delivered more impressively on absurd expectations than Dilly Dally, who dominated this site’s December coverage and will likely remain a critical part of conversation well into the future.

Meredith Graves Tears Up at the Honor Press Showcase

Where do I even begin with the unbelievable debt of gratitude I owe to Meredith Graves? One of the reasons I started this site was because I wanted a forum to interview Meredith, who responded in kind to an unsolicited Facebook message and graciously agreed to a Skype session. I had no idea when that was being set up that she would go on to become one of my closest friends, confidants, and most trusted advisers, or that she would eventually start flipping the script to tirelessly attempt to promote and endorse the work I’d been doing on my own.

The summer that followed that initial conversation was mostly spent on the phone with Meredith having hour-long talks about life’s various intricacies, the merits of art, social politics, our deepest fears, our desires, oddball literature, classic film, and anything else that randomly entered our minds. We traded demos, proposed collaborations, and — for some time — became key parts of each other’s daily routine. We’ve relied on each other to keep ourselves tethered to reality and sought out each other’s presence in times of celebration.

We’ve ignored each other, exchanged very sincere declarations of love, and have constantly fought on one another’s behalf. We’ve pitched various outlets pieces focusing on each other’s achievements, attempted to compliment each other to death, and experienced several surreal moments together (from almost breaking a hammock that was too small for either of us on our own to watching Pleasure Leftists play inside of a halfpipe in the attic of a bike shop). We’ve despaired together, we’ve drank together, we’ve schemed together, we’ve surprised each other, we’ve brought each other to the point of tears, and we’ve remained a steadfast part of each other’s lives.

Meredith was responsible for giving me one of my first gigs in Brooklyn, working Perfect Pussy‘s mail order with Ray McAndrew, and has gone out of her way time and time again to fight for my best interests. She’s given me extraordinary introductions to everyone under the sun and flat out earned the title of this site’s patron saint. She pleaded with me to come live in the city where she resided for the three years we’ve been improbably close friends and I finally took her up on the request (for an incredibly large number of reasons, though her presence definitely played a very heavy factor).

For the past several years Meredith’s been attempting to balance twice as much as any normal human could handle but finding reasons to fight. I beamed along with her as she told me that she had a business email and that Honor Press, her newly formed label, had been given the green light from all involved parties. I grinned as she nearly worked herself up to the point of passing out over signing So Stressed, and I immediately made plans to attend the half-secret Honor Press showcase at CMJ as soon as she told me it was going to happen.

On all of the occasions I was able to spend celebrating Meredith’s accomplishments, this one felt different from the outset. Somehow, it seemed more meaningful than any other random show or festival appearance. At some point last year, I don’t know when and I don’t know how, the band Cloud Castle Lake came up in one of our conversations. Meredith had just discovered a very passionate love for the band’s music and I’d recently been blown away by the composition of one of their music videos. Fast forward to September and they’re all standing outside of the Silent Barn, waiting to play a showcase she’d put together, having made the trip over from Ireland for the occasion.

Aye Nako were to open the night and Perfect Pussy were set to close, leaving Cloud Castle Lake in a prime middle slot position. Talking to Meredith outside, it was easy to spot some small trembling; nervous tics betraying both excitement, anxiety, and anticipation. Sleep deprived but positively glowing, she seemed like she wasn’t sure if she wanted the show to start or simply take in the moment prior to the kick-off; the deep breath before the headlong dive towards impact.

She didn’t have to wait long, despite the show starting a little later than scheduled (an occurrence that just about everyone was expecting).

Aye Nako played first and played well, setting an intriguing tone for the evening and for Cloud Castle Lake. What happened next caught just about everyone off guard as the band launched into a set that went from being oddly moving to feeling sacred. Everyone was locked into the tapestries the band was meticulously weaving, swaying absent-mindedly as the band swiftly navigated intricate movements of deeply impressive compositions. I stood by Meredith’s side as she sighed and surrendered completely to the band’s overpowering spell.

About halfway through their set, a moment of clarity hit and the reality of the situation seemed to collapse in on Meredith, who slid her back down the wall, as her eyes brimmed with tears. Surrounded by people she loved, in a place that treated her well, watching her favorite bands play a show she booked, it was as if all of the things that normally weigh heavy on her mind were dissolved in one fell swoop. My heart nearly gave out as I watched her go through the motions of realizing her role in facilitating something that swung on a pendulum from powerful to transcendental.

We locked eyes for a moment and she put my immediate concern at rest with a half-smile, clearly overwhelmed by what was playing out in the room. Shortly after, she regained her composition and joined the rest of the audience in their half-sways as Cloud Castle Lake issued out one quiet, involved prayer after another. The rest of Perfect Pussy were hesitant to take the stage once Daniel McAuley’s last falsetto had receded into the ether, fully aware that Cloud Castle Lake had just transported an entire room of people to a place that many of them were likely discovering for the first time.

To this day, I’m not entirely sure where that performance took Meredith but I’m grateful that she got to take the kind of journey she so richly deserved.

Krill’s Story Comes Full Circle at DBTS

No band has been mentioned in this edition of A Year’s Worth of Memories more times than Krill. Their impact on their respective communities was undeniable and they clearly struck a very deep cord with a lot of the people that comprised those groups. Idolized, celebrated, acclaimed, and fearlessly loved, their decision to call it quits in 2015 prompted a colossal deal of sadness from anyone that’d ever subscribed to the cult of Krill.

Making the blow even worse was the fact that it came in the midst of a creative spree that saw the band experimenting more readily and crafting some of their finest material. The band had strung together a monumental 2015 run, bolstered by the success of their jaw-dropping A Distant Fist Unclenching and hordes of critics’ praise from nationally recognized (and highly influential) publications.

They’d played what was one of the first great sets I saw in 2015, celebrated the 4th of July by playing a show at Silent Barn with Swirlies, and delivered a towering set as a headliner during the second night of Exploding In Sound’s Extended Weekend. While all of those sets were admittedly as inspiring as everyone had made Krill shows out to be, it was their second-to-last ever show, a secret benefit for the Silent Barn’s reconstruction at DBTS, that stood out as the most meaningful.

Not only was the band playing a place I’d briefly called home but it was also where they played their very first show, giving the proceedings an oddly emotional bent. Unsurprisingly, after word got out, the show sold out faster than most DBTS shows and saw the room overflowing with people who wanted to be present for Krill’s last hurrah in a more intimate DIY setting.

Cende and LVL UP played the roles of openers as effectively as possible, delivering solid sets that wouldn’t detract from a moment that was rightfully Krill’s. By the time Krill were adjusting their mix, the main room was overflowing with people and there was a shoulder-to-shoulder crowd lined up the stairwell. Their ensuing set was so perfectly definitive of Krill that it nearly managed to be completely indescribable.

In turns, it was tightly controlled and threatened to completely unravel. Shambolic and poised, it existed in this strange dichotomy that Krill had so expertly exploited for years but rarely with as much purpose as they did during that set. When something nears its end, we, as humans, do our best to make the most of the remaining pieces of its life. Krill knew that by the time the following week rolled around, they’d have given up that aspect of their life and it was abundantly clear that they were hell-bent on making their remaining time count.

Aaron Ratoff’s guitar kept falling out of tune, Ian Becker hit his drums with a greater velocity than usual, and Jonah Furman embraced every aspect of his being en route to a tour de force performance that absolutely demolished the room where they started their career. By the time the inevitable chant of “Krill, Krill, Krill Forever” went up, DBTS resident (and Cende guitarist) Dave Medina had found a way to literally crowdsurf on the audience, enhancing the night’s descent into frenzied insanity. Everyone, as always seemed to be the case with Krill, was in this together; a thriving community that celebrated its best aspects as readily as it acknowledged its weaknesses.

As Krill sprinted towards the finish line, the out-of-control audience came dangerously close to toppling their equipment, and Dave manage to successfully find a way to balance on top of a tattered styrofoam surfboard as he was hoisted up by the crowd, it was incredibly evident that although everyone knew that the run had to end, no one wanted to come back down. Encore chants were given and obliged until it simply became a point of exhaustion, leaving everyone involved with a sense that they’d taken part in something worth talking about years down the line.

Krill is dead; long live Krill; Krill forever.   

Putting Together A Year’s Worth of Memories

To anyone who actually bothered to read through the entirety of the content above (which essentially amounts to a grossly over-indulgent novella), you have my very sincere gratitude and a ton of respect. This is the second year I’ve curated A Year’s Worth of Memories and the response for this round has been even more enthusiastic than when I first tried out the series at the outset of 2015.

I’d once again like to thank the people who were mentioned in this piece’s prologue (especially the returning contributors: Loren DiBlasi, David Glickman, Athylia Paremski, David Glickman, Jessi Frick, Stephen Tringali, Cole Kinsler, Gabriela June Tully Claymore, David Anthony, Phil McAndrew, Sam Clark, Miranda Fisher, and Christine Varriale).

Additionally, I’d like to once again thank last year’s contributors: Sasha Geffen, Jeanette Wall, Eva Grace Hendricks, Caroline Rayner, Joseph Barchi, Edgar Gonzalez, Jesse Amesmith, Shari Heck, Michael Caridi, Dave Benton, Cynthia Ann Schemmer, Tess Duncan, Michelle Zauner, Jeff Bolt, Katie Capri, Quinn Moreland, Oliver Kalb, Ali Donohue, Ray McAndrew, Christopher Good, David Sackllah, Rick Maguire, Stephen Pierce, Johanna Warren, and Patrick Garcia.

Putting together the first two installments of this series has been reassuring in unfathomable ways. Seeing the outpouring of support from people not only willing to listen but express interest in participating from all over the world has meant the world to me; without those reminders this place would likely cease existing. For that, I’m unbelievably grateful. It’s easy to forget how many people you have on your side when you can’t see them in front of you so when so many come together to fight for something that was once just a fraction of an idea, especially when they’re people you’ve admired and celebrated, is a surreal thing to experience.

Heartbreaking Bravery has always been a support structure and to extend that out to other people and give them a chance to express their thanks for others, reflect on themselves, or simply join in a healthy conversation is an incredibly important aspect of what keeps this place functioning. Being able to facilitate something of that nature, especially when the names attached continuously unveil work worth celebrating, has been a profoundly moving experience. It’s been a deeply rewarding experience and it’s helped provide this place with meaning.

To all of the people who became a small part of this site’s history either this year or last year (and to anyone who contributes in any way in the coming years), I will once again simply state: I love you all.

-Steven Spoerl

Watch This: Vol. 101

[EDITOR’S NOTE: Due to the nature of these upcoming posts, a truncated version of this introductory paragraph will be appearing over the next several installments of this series.] It’s been quite some time since the 100th edition of Watch This went up on this site. There have been a lot of factors going into the extended interim but, as usual, a focal point of that absence was to make sure the preparation work was kept up to date. A lot of extraordinary live videos have come out since then and to make this point abundantly clear, here’s a list of artists responsible for performances that didn’t quite make it into the featured five slots over the course of the past handful of weeks: Ride (x2), Josh Ritter (x2), Radkey, Marrow, Seratones, Hooton Tennis Club, Kurt Vile (x2), Indian Askin, Amason, Eden Mulholland, Bobby Bare Jr. (x2), Hanna Asbrook, Lucy & La Mer, Lee Corey Oswald (x2), Wastrels, The Cairo Gang, Wild Ones, Martin Courtney (x2), Small Black, Timeshares, Shopping (x2), The Jacques, Mac McCaughan & the Non-Believers, Raw Pony, Andrew Bird, Air Waves, Izzy True (x2), The Tallest Man On Earth, Elliot Moss, Hemming, Titus Andronicus, Kagoule, Django Django, Summer Cannibals, Lost Lander, Emilie & Ogden, Denai Moore, EL VY, Purple 7, John Grant, Caleb and Carolyn, Fraser A. GormanThe Besnard Lakes, Charly Bliss, Delta Spirit, Joanna Newsom, Oaks, Kevin Garrett, Brilliant Beast, Blitzen Trapper, The Saturday Tea, Other Lives, Rayland Baxter, Low, Speedy Ortiz, Chilly Gonzalez, Murder Shoes, Ava Luna, bAd bAd, Oberhofer (x2), Aye Nako, Jason Isbell, Superbee, Deerhunter, The Ghost Ease, Oscar, Rachel Goodrich, Small Feet, Lucero, Totally Mild, Ukryte Zalety Systemu, Soda Bomb, Jens Kuross, Caspian, Boytoy, Duncan Sheik, PISTA, Slim Twig, Shamir, Contrails, King Gizzard & The Lizard Wizard, Courtney Barnett, The Chameleons Vox, Vundabar, Vagabon, Craig Finn, and Soda Shop. Based on the strength of those clips, it’s probably unsurprising that some of the year’s best live captures have also surfaced in that time. Full sessions, single song performances, DIY videos, and impressive turn-ins from radio stations abound. So, as always, sit back, adjust the setting, crank the volume, focus up, and Watch This.

1. Eskimeaux (Audiotree)

No record in 2015 has hit me as hard and as consistently as O.K.,  a deeply felt masterpiece from Eskimeaux. A record I’d liked upon first listen and warmed to progressively over time, it wasn’t until I saw those songs played live that everything seemed to click. Audiotree was fortunate enough to have the band in for a recent session and wound up with what may come to be regarded as the definitive live recording of this era of the band. The performances are uniformly strong and the songs remain spectacular. Simply put: this is unmissable.

2. Julien Baker – Sprained Ankle (BreakThruRadio) 

Likely the only 2015 record to rival O.K.‘s emotional impact is Julien Baker‘s arresting breakout effort Sprained Ankle. With a title track that easily ranks among the year’s finest songs, Baker’s latched onto something genuinely captivating. It’s myriad strengths were emphasized with a gorgeous music video and are once again brought to the fore with this painfully gorgeous live performance. It’s a triumph for one of music’s most promising emerging talents.

– 

3. Slothrust (Jam in the Van)

In a manner not too dissimilar from Eskimeaux, Slothrust was another band that sold me further on material I’d already liked via the strength of their live show, It’s not surprising, then, that their session for Jam in the Van winds up being one of that series’s strongest entries in months. Topping everything off is a typically strong take on “Crockpot”, which continues to stand as one of the strongest songs of recent memory.

4. Torres – Strange Hellos (Hooke Audio)

Has anyone appeared more times on Watch This throughout the course of 2015 than Torres? Mackenzie Scott’s project continues to turn in spellbinding performances at an alarming rate but, even with that being the case, this version of “Strange Hellos” manages to stand out. Shot as part of Hooke Audio’s live sessions series that challenges artist to re-interpret their material, “Strange Hellos” gets transformed into a jaw-dropping ambient number that may wield even more of a punch than the studio version. It’s a startling reminder of Sprinter‘s most powerful moments.

5. Girlpool (Pressure Drop)

If anyone’s appeared on the 2015 run of Watch This as many (or more) times than Torres, it’s site favorites Girlpool. Harmony Lebel-Tividad and Cleo Tucker put together one hell of a run this year, highlighted by their extraordinary full-length debut Before The World Was Big. In a nine-song session, the duo makes their way through the majority of that record and “Soup”, one of the new numbers they’ve been road-testing on their last few tours. As ever, the performances are assured and showcase the near telepathic connection the band’s developed over the past few years. They’re an act that seems poised to get stronger as they go, which is more than a little impressive considering they’re already one of the best bands currently making music- and this Pressure Drop session serves as proof.

A Small Victory in 600 Moves (Video Mixtape)

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Heartbreaking Bravery has never been an overtly traditional blog. Yes, some commonplace elements and recurring themes keep it from falling apart but its essentially come to operate as a living journal of the things that have piqued my interest. It’s allowed me a place to provide documentation of recent events that blend recap aesthetics with critical analysis while simultaneously operating as a platform to showcase lesser-known bands. When it was initially devised, its sole purpose was to grant me an outlet to be able to keep writing but- over time- it grew into something that eventually had a heavy impact on my life. Whether through enabling visits to Toronto or being one of the biggest root causes of the recent relocation to Brooklyn, it’s played an enormously active role in shaping some of the biggest decisions I’ve ever made- and it’s been directly responsible for linking me to a handful of genuinely invaluable people that I’d be twice as lost without.

Now on its 600th post- and with the blue moon just barely behind us- it felt appropriate to allow the rarest of overtly personal posts. Over the near-two months I’ve been residing in Brooklyn, I’ve had the privilege of both witnessing and playing a part in some genuinely unforgettable moments. For a large handful of them, I was fortunate enough to have the camera on and rolling. The 25 clips that are all contained in this sequence are videos I’ve shot personally since landing in New York. From a breathtaking acoustic rooftop performance overlooking the city’s industry-driven sprawl to an inexplicably perfect moment at a secret wedding to secret headliners to a slew of site favorites, there’s a lot of content here- all of which made me feel like I was in the exact right place. It’s an offering that acts both as a celebration of a small accomplishment in terms of longevity and as a sincere thanks to a part of the world that has so readily accepted- and celebrated- both myself and this site. I’m genuinely unsure of what the future holds but if it’s anything as exciting as the past few months have proven to be, I’ll consider myself fortunate to share it with both my friends and anyone kind enough to lend any attention to this site.

Below the video, you can find a tracklist of the sequencing and- as this is another 100 posts- there will be links to the preceding 100 posts. Click play and browse at will. Enjoy.

1. Girlpool – Crowded Stranger (Live at Baby’s all Right)
2. Diet Cig – Dinner Date (Live at Shea Stadium)
3. Frankie Cosmos – On the Lips (Live at DBTS)
4. Radioactivity – World of Pleasure (Live at Baby’s All Right)
5. Dogs On Acid – Make It Easy (Live at DBTS)
6. PWR BTTM – Projection (Live at Palisades)
7. Slothrust – Crockpot (Live at Suburbia)
8. Charly Bliss – Dairy Queen (Live at Shea Stadium)
9. Told Slant – I Am Not (Live at Silent Barn)
10. Montana and the Marvelles – Stand By Me (Live at DBTS)
11. Lost Boy ? (ft. Patrick Stickles) – Big Business Monkey (Live at Shea Stadium)
12. Idle Bloom – Dust (Live at Alphaville)
13. Swirlies – Wait Forever (Live at Silent Barn)
14. Tenement – Crop Circle Nation + Dull Joy (Live at The Acheron)
15. Bully – Brainfreeze (Live at Rough Trade)
16. Rebecca Ryskalczyk – Other Otters (Live at DBTS)
17. Attic Abasement – Sorry About Your Dick (Live at Shea Stadium)
18. Eskimeaux – Folly (Live at Palisades)
19. Krill – Turd (Live at Silent Barn)
20. Littlefoot – Worrydoll (Live at DBTS)
21. Florist – 1914 (Live at Baby’s All Right)
22. Mitski – I Will (Live at Palisades)
22. Adir L.C. – Inside Out (Live at DBTS)
24. Johanna Warren – Survive (Live)
25. Benny The Jet Rodriguez – Alley Cat (Live at The Acheron)

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HB500: Casting A Glance (Video Mixtape)
HB501: Mutual Benefit – Not For Nothing (Stream)
HB502: Hammock – My Mind Was A Fog… My Heart Became A Bomb + In the Middle of Nowhere (Music Video)
HB503: The Fjords – All In (Music Video)
HB504: Fraser A. Gorman – Shiny Gun (Music Video)
HB505: Tenement – Curtains Closed (Stream)
HB506: Lady Bones – Botch (Stream)
HB507: So Stressed – Apple Hill (Stream)
HB508: Watch This: Vol. 72
HB509: Girlpool – Before The World Was Big (Music Video)
HB510: Ice Melting in the Back of a Pickup Truck (Short Film Premiere)
HB511: Worriers – They/Them/Theirs (Stream)
HB512: Westkust – Dishwasher (Stream)
HB513: Total Babes – Heydays (Music Video)
HB514; Weed – Thousand Pounds (Music Video)
HB515; La Lenguas – Love You All the Time (Stream)
HB516: MOURN – Gertrudis, Get Through This! (Stream)
HB517: Institute – Cheerlessness (Stream)
HB518: Blue Smiley – OK (Album Stream)
HB519: Molly – People (Music Video)
HB520: Diamond Youth – Thought I Had It Right (Music Video)
HB521: Heather Woods Broderick – Wyoming (Music Video)
HB522: Wactch This: Vol. 73
HB523: Lady Bones – 24 Hour Party Girl (Stream)
HB524: Radioactivity – I Know (Stream)
HB525: Splitting at the Break: A Visual Retrospective of 2015’s First Half (Pictorial Review, Live Video)
HB526: Johanna Warren – True Colors (Music Video) (NSFW)
HB527: Royal Headache – High (Stream)
HB528: Hey Hallways – Anything At All (Music Video)
HB529: Watch This: Vol. 74
HB530: Watch This: Vol. 75
HB531: Watch This: Vol. 76
HB532: Watch This: Vol. 77
HB533: Watch This: Vol. 78
HB534: Watch This: Vol. 79
HB535: Watch This: Vol. 80
HB536: Sulky Boy – Things Betwixt (Stream)
HB537: Girls Names – Reticence (Stream)
HB538: Happy Diving – So Bunted (Stream)
HB539: Father/Daughter Northside Showcase 2015 (Pictorial Review, Live Videos)
HB540: Introducing: Montana and the Marvelles
HB541: Miscreant Records Northside Showcase 2015 (Pictorial Review, Live Videos)
HB542: Bully – Live at Rough Trade – 6/15/15 (Pictorial Review, Live Video)
HB543: Exploding in Sound Northside Showcase 2015 (Pictorial Review, Live Video)
HB544: Painted Zeros – Live at Alphaville – 6/17/15 (Pictorial Review, Live Video)
HB545: Tenement – Predatory Headlights (Album Review, Stream)
HB546: Dogs On Acid – Live at DBTS – 6/19/15 (Pictorial Review, Live Video)
HB547: Watch This: Vol. 81
HB548: Watch This: Vol. 82
HB549: Lost Boy ? – Live at Shea Stadium – 6/20/15 (Pictorial Review, Live Video)
HB550: 2015: Halfway Home (Mixtape)
HB551: Bully – Trying (Music Video)
HB552: Toys That Kill – Live at The Acheron – 6/23/15 (Pictorial Review, Live Video)
HB553: Tenement – Live at The Acheron – 6/25/15 (Pictorial Review, Live Videos)
HB554: Watch This: Vol. 83
HB555: Sweet John Bloom – Weird Prayer (Album Review, Stream)
HB556: Raury – Devil’s Whisper (Music Video)
HB557: Fakers – $600 (Stream)
HB558: Cherry Glazerr – Sip O’ Poison (Stream)
HB559: Coaster – Paralyzed (Stream)
HB560: Nervoasas – Parallels (Stream)
HB561; Big Huge – Late At Nite (Stream)
HB562: The Hussy – Turning On You (Stream)
HB563: Gurr – I Don’t Like You (Stream)
HB564: Vacation – Like Snow (Stream, Live Video)
HB565: Big Air – Barking Dog (Music Video Premiere)
HB566: Trust Fund (ft. Alanna McArdle) – Dreams (Stream)
HB567: Pleasure Leftists – You You (Stream)
HB568: Ben Seretan – Take 3 (Song Premiere)
HB569: White Reaper – Last 4th of July (Stream)
HB570: Watch This: Vol. 84
HB571: Swirlies – Live at The Silent Barn – 7/4/15 (Pictorial Review, Live Video)
HB572: Noun – I’m Afraid of What I’ll Do (Stream)
HB573: Meat Wave – Delusion Moon (Stream)
HB574: PWR BTTM – Ugly Cherries (Stream)
HB575: Diet Cig – Sleep Talk (Stream)
HB576: Watch This: Vol. 85
HB577: Slothrust – Live at Suburbia – 7/10/15 (Pictorial Review, Live Video)
HB578: All Dogs – That Kind of Girl (Stream, Live Video)
HB579: Dilly Dally – Desire (Stream)
HB580: LVL UP – Three Songs (7″ Stream)
HB581: PUP – Dark Days (Music Video)
HB582: Royal Headache – Another World (Music Video)
HB583: Mitski – Live at Palisades – 7/17/15
HB584: Watch This: Vol. 86
HB585: Radioactivity – Intro/Battered/Slipped Away (Music Video)
HB586: Princess Reason – Your Divorce (Stream)
HB587: Rebecca Ryskalczyk – We’re Brothers (Demo Stream)
HB588: Phylums – Go Home (Stream)
HB589: Watch This: Vol. 87
HB590: Meat Wave – Delusion Moon (Music Video)
HB591: A Short Stretch (Pitctorial Review)
HB592: Dogs On Acid – Make It Easy (Stream)
HB593: SPORTS – The Washing Machine (Stream)
HB594: A Short Stretch (Video Review)
HB595: All Dogs – Skin (Stream)
HB596: Girlpool – Live at Baby’s All Right – 7/29/15 (Pictorial Review, Live Video)
HB597: Heat – This Life (Music Video)
HB598: The Foetals – Malted (Stream)
HB599: Watch This: Vol. 88

Watch This: Vol. 87

Every Sunday, Watch This runs on this site to celebrate some of the finest performance captures to have surfaced over the past seven days. Here and there, exceptions are made to facilitate some genuinely great performances (this is one of those weeks) but the central focus remains the same: the celebration of a confusingly under-discussed presentation format that allows great filmmaking to intersect with great performances. As has been the case over recent weeks, a lot of clips didn’t wind up in the featured five slot (including some performances from artists who did make it into those positions), which is telling of the quality of those clips that are discussed in greater extent. Those artists include: Jack and Eliza, Nic Hessler, Happyness, Titus Andronicus (x2), SOAK, Oscar, The Sun Parade (x2), On and On, The Wilderness (x2), Restorations, Drenge (x2), Mommy Long Legs, and site favorites Tenement. All of those are worth the clicks but today’s all about the five clips below the introductory paragraph. So, as always, sit back, adjust the volume, clear your mind of clutter, focus up, and Watch This.


1. Happyness – It’s On You (WFUV)

Happyness have earned their fair share of love on this site and they continue to impress here, in a spirited rendition of “It’s On You”, for Watch This staple WFUV. One of the reasons WFUV keeps showing up in these lists is the way they present the performances; a black backdrop means no visual distractions. It’s a tactic that’s proven troublesome for some bands but Happyness have always been capable of spinning minimalist tendencies into gold and this performance is one of those times.

2. Eskimeaux – Sleeppy Bear (Portals)

On very rare occasions, the format of Watch This will ever-so-slightly deviate from its traditional setup to accommodate an item that was lost in the preceding weeks’ shuffle. Despite Eskimeaux making an increasing number of appearances on the site as of late, the stunning performance clip Portals produced of “Sleepy Bear” somehow became one of those items. Far too lovely to let fall to the wayside, “Sleepy Bear” places all of its emphasis on Gabrielle Smith- the driving creative force behind Eskimeaux- and the results are spellbinding.

3. Diet Cig (BreakThruRadio)

This isn’t the first time Diet Cig have shown up and raised hell on Watch This and it’s seriously unlikely that it’ll be the last. A duo of firecrackers, the band’s entertainment value seems to continuously escalate as the velocity of their headfirst dive into embracing a gleeful insanity increases. As always, their performances here come off like an unexpectedly forceful gut-punch followed by a mischievous, half-apologetic smile.

4. Titus Andronicus – Fatal Flaw (WNYC)

At present, Titus Andronicus have two out-and-out masterpieces under their belt. The Most Lamentable Tragedy, the band’s just-released double album, is the first time they’ve matched the heights of The Monitor and part of that is thanks to a similarly sprawling ambition that’s equaled by the frighteningly honest conviction of bandleader Patrick Stickles. Of course, it wouldn’t have landed in that position without genuinely great songs in its bold narrative arc. The band recently stopped by WNYC’s studios to deliver a performance of a few of those songs, delivering the strongest performance in this particularly raucous take on single “Fatal Flaw”.

5. SOAK – Wait (WFUV)

When SOAK last appeared on Watch This, the young songwriter was centered in a clip that will undoubtedly be featured again as part of this site’s annual year-end roundup celebrating the best of the series. Here, in a breathtaking performance for WFUV, the same grace, devastation, and haunted frailty that made SOAK’s first Watch This entrance so compelling is brought to the fore with a similar effortlessness. It’s absolutely mesmerizing.