Two weeks may not seem like that long of a stretch but considering the rate new material surfaces, it can be a challenge to keep up to speed. As the previous posts have indicated, there was a lot of material to cover and not all of it can be granted the attention that its due. A large portion of songs, full streams, and music videos have already been posted but this post marks the beginning of a small onslaught of single-item features. Kicking things off: site favorites Cloud Nothings’ just-released triumph, “Modern Act”.
Once again operating as a quartet, Cloud Nothings seem to have rekindled a very specific spark that’s been dormant since Turning On. In the time that’s elapsed since that point, the band’s been responsible for some of the current decade’s finest records but all of them were gnarled, weary beasts, where “Modern Act” comes across as cautiously optimistic. There’s a lightness to the songwriting that all but evaporated as Cloud Nothings transitioned from a solo project to a full band endeavor.
Even ignoring the distortion and fuzz that so heavily informed Attack On Memory and especially Here And Nowhere Else, which is barely present in “Modern Act”, the songwriting structure seems to have rekindled some more playful sensibilities. Guitarist/vocalist Dylan Baldi remains one of the more engaging narrators currently playing out, anchoring “Modern Act” with the relatable, peculiarly grounded sentiments that have consistently provided the band with a point of appeal.
Drummer Jayson Gerycz remains one of the best things to happen to recent music and propels “Modern Act” with a characteristic amount of intuition, verve, and raw feeling. It provides a perfect counterbalance to Baldi mining the project’s earlier signposts and becomes the perfect catalyst for what could prove to be a career-defining stylistic marriage. Everything the band tries out here works to surprising degrees and “Modern Act” winds up as an unassuming career highlight as a result. If the rest of the band’s forthcoming Life Without Sound winds up being anywhere near this impressive, 2017 will be off to an incredible start.
Listen to “Modern Act” below and pre-order Life Without Sound here.
Yesterday evening, one of Brooklyn’s finest venues- Baby’s All Right- opened its doors and ushered in an eclectic mix of people that tended to skew younger than older but still boasted a handful of patrons who could have grandchildren. It was a nice sight that was likely due to the wide-reaching appeal of both bands playing the early show: Florist and Girlpool.
Both acts have built up a quiet notoriety over the past few years, with the former being a staple of the revered arts collective The Epoch and the latter being one of 2014’s great word-of-mouth successes. The show had sold out before Baby’s opened its doors and the packed room left both bands unfazed. Florist started things off with a set of gentle songs that incorporated subtle, folk-inflected influences into devastating indie pop songs.
Each song kept the audience at a silenced hush as the room swelled to capacity. For the entirety of their set, Florist played in front of a static drumkit (one that would have otherwise been used by Felix Walworth, who’s currently on tour) in what seemed to be a gesture of heartfelt solidarity. By the time their set was drawing to a close, the audience was completely at their mercy, hanging onto every soft word and ambient flourish; it was almost as if Florist was the headlining act, a notion that was supported by the waves of applause following their final notes.
Ultimately, Florist’s set was a perfect lead-in to Girlpool, who wasted no time in launching into their set once they took the stage. Now, Girlpool’s been written about enough times here that it’d be easy to collect all of those pieces and fashion a small bible- but it still felt like they had something to prove an in-person live setting. The notion that they couldn’t was dismissed completely as soon as the duo (comprised of Cleo Tucker on guitar/vocals and Harmony Lebel-Tividad on bass/vocals) launched into their first harmony sequence.
Throughout their set, both Tucker and Lebel-Tividad were in high spirits, casually joking with each other while dealing with a guitar that kept stubbornly falling out of tune. Families, couples, and musicians all watched intently as Girlpool played cuts from their outstanding self-titled EP (one of 2014’s best) and this year’s superb Before The World Was Big, while making room for at least two new tunes.
No matter what the band did, there was a pervading sense of easy camaraderie that bled into a seemingly telepathic connection between the duo. As many others have noted, at times their voices adopt each others affections and become virtually indistinguishable. While that aspect of their music can certainly be heard on record (and in several performance captures), hearing it in person is spine-tingling.
Before anyone knew what was happening, the band had seemingly everyone held at rapt attention, suspended in a moment where time was irrelevant. A brief “this is our last song” brought reality crashing back down on the proceedings and the band finished their main set exhibiting the same flair and charisma that earned them their headliner status in the first place. The encore call was immediate and overwhelming.
After a brief attempt to lead a venue wide singalong of “Happy Birthday” for the girl who cried out that it was hers, the band sheepishly launched into the first song of their encore: “Plants and Worms“. Even in a still-young discography packed with incredible material, “Plants and Worms” stands out in their catalog- and not just because it was gifted one of the best music videos of 2014. It was one of the first glimpses at the band’s maturation level and the songwriting remains some of the most staggering they’ve committed to a recording.
Decidedly darker in tone than the rest of their material, “Plants and Worms” is immediately arresting and the audience was dead quiet throughout (with the exception of a delighted reaction to the Tucker aside about the attempted birthday song), completely engrossed in the performance at hand. The evening ended with a gripping rendition of “Dear Nora”, one of Before The World Was Big‘s most quiet, affecting, and personal songs. When it drew to its silent finish, the audience gave one last enthusiastic applause and got one last glimpse of the band, smiling and waving, in front of an iconic backdrop, left with one last reminder that even though they were making their stage exit, Girlpool aren’t anywhere close to calling it quits.
A photo gallery of the show can be seen below. Underneath the gallery, watch video captures of parts of both Florist’s and Girlpool’s set below. Each video set includes two new songs per artist. Florist’s also includes “1914” while Girlpool’s includes “Chinatown”, “Crowded Stranger”, “Pretty”, and “Plants and Worms”. Enjoy.
METZ are one of the fiercest live bands on the planet right now so their inclusion here isn’t really all that surprising. What’s definitely unexpected, though, is the gorgeous scenery. Performing at the Best Kept Secret festival, the trio took to a house’s front yard and delivered an absolutely blistering rendition of METZ II highlight “Spit You Out”. It’s an exhilarating tour de force from one of this generation’s most exciting bands.
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2. Girlpool (NPR)
By now it’s very likely that the trio of songs the duo of Cleo Tucker and Harmony Lebel-Tividad play here have graced this series more than any other songs. However, they’ve never been played on a stage even remotely similar to NPR’s vaunted Tiny Desk Concert series. Now, more than ever, it’s abundantly clear how ingrained these songs are in both members. Intuitive playing, effortless harmonies, and a genuine love for their work and each other once again carries their performances to near-transcendental heights.
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3. Speedy Ortiz (unARTigNYC)
First thing’s first: this is not a complete video. Understandable, because the weather started threatening everyone’s equipment, not just Speedy Ortiz’s (who had several technical difficulties throughout a spirited, memorable set). I was fortunate enough to be in attendance for this show- held for free on a pier in Manhattan as part of Hudson River Parks’ Hudson RiverRocks concert series- and weathered a fairly brutal rainfall sans umbrella until the bitter end (the rain started- and the wind picked up- during a beautiful version of “Doomsday”, a song that still manages to elicit goosebumps and stands firm as a Song of the Decade contender). Although it’s not featured in the video, I’ll have a permanently embedded memory of the band losing pedal after pedal (and then amp and PA connections) during a particularly fierce take on “American Horror” that ended with Sadie Dupuis opting to take her guitar off and hold it above her head, allowing the feedback to ring out, like some ritualistic sacrifice to the gods. It was a stunning moment. Unfortunately, Waxahatchee’s set had to be cancelled due to lightning before it even started- but it would have been hard to have made much of an impression after what Speedy Ortiz accomplished in the face of what could have easily been disastrous.
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4. Torres – A Proper Polish Welcome (Sunday Sessions)
There’s something about Torres’ “A Proper Polish Welcome” being played as a solo piece that manages to come off as intrinsically haunted. One of the most arresting moments on one of the year’s best records, it’s lent an even greater pathos when it’s stripped bare. With Sunday Sessions placing all of the emphasis on Mackenzie Scott, the clip nears a strange voyeurism as Scott completely loses herself to both the song and the performance. Gripping and beautiful, it’s a masterclass in solo performance.
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5. Courtney Barnett (Moshcam)
Courtney Barnett seems to be making a habit out of crashing Watch This‘ weekly party with astounding full sets and this excellent performance- beautifully lensed by Moshcam- sees the continuation of that pattern. This time around, the songwriter unloads a career-spanning powerhouse homecoming set to an appreciative audience. Barnett’s a preternaturally gifted performer and the band she’s assembled plays well to her seemingly endless strengths. A staggering 16-song set, this serves as one of the definitive documents of Barnett’s abilities and still-ascending level(s) of success.
Only a little past its halfway point, 2015’s already been an absurdly strong year for music. Numerically staggering, it’s yielded a handful of classics across a variety of genres and a plethora of outstanding small releases. While this mix skews more towards the latter than, say, Kendrick Lamar’s To Pimp A Butterfly, it’s still worth noting how kind this year’s release schedule has been across the board. To reflect on some of this year’s best offerings so far- and to celebrate this site’s 550th post- a mixtape’s been curated for your enjoyment. Nearly all of these songs and artists have been featured on the site previously, lending this particular mix a more retrospective feel than a few of the past entries in the mixtape series, but they’re all worth celebrating as much as possible. Ranging from folk and ambient flourishes to heavy 90’s influences to thoroughly modern post-punk to spritely basement pop, there’s an entry for just about every genre marker that receives regular coverage on the site.
So, without further ado, here’s a mixtape of some of 2015’s strongest highlights (at least so far, there are still quite a few promising items for the year’s latter half). The tracklist for 2015: Halfway Home can be found beneath the embed. Enjoy.
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1. Girlpool – Before The World Was Big 2. Waxahatchee – Under A Rock 3. Mean Creek – Forgotten Streets 4. Royal Headache – Hgih 5. Radioactivity – Pretty Girl 6. Diet Cig – Breathless 7. Washer – Joe 8. Courtney Barnett – Pedestrian At Best 9. Mikal Cronin – Made My Mind Up 10. Torres – Sprinter 11. Jason Isbell – 24 Frames (Live) 12. theweaselmartenfisher – Empty Bucket List
13. Pupppy – Puking (Merry Christmas!) 14. Christopher Paul Stelling – Dear Beast 15. Fraser A. Gorman – Shiny Gun 16. Young Jesus – Milo 17. Girls Names – Reticence 18. Institute – Cheerlessness 19. Happy Diving – So Bunted 20. Downies – Widow 21. Meat Wave – Erased 22. Connor La Mue – Stargazer 23. Bruising – Think About Death 24. Meredith Graves – Took The Ghost to the Movies 25. Yowler – The Offer
Over the course of the past few weeks, the influx of outstanding live videos has been staggering. Last week the series was put on a brief hold due to other personal obligations but even then, there was the threat of multiple installments for that particular Sunday. Amassing those with the live clips that followed in the subsequent week brings us to this point: there’s simply too much great material to feature to justify relegating anything exceeding the limit of five to the introductory paragraph(s). With this being the case, there will be seven- yes, seven- installments of Watch This to go live throughout the day (and possibly night).
To that end, this very introduction will be running prior to volumes 74-80 to reduce the levels of overall exposition to provide an emphasis on the material at hand. Site favorites Girlpool and Waxahatchee were seemingly everywhere this week, securing multiple entries throughout this run while Faits Divers spread-out documentation of a set from Ought (another site favorite) managed to do the same. As always, each video featured is an exemplary showcase for both artist and host, covering a wide range of sounds and styles. So, as always, sit back, adjust the volume to your preferred settings, sit up straight, lean in (or back), and Watch This.
1. Girlpool – Before The World Was Big (Exclaim!)
Capping off Girlpool’s impressive run of recent live captures is this beautiful take of “Before The World Was Big“, courtesy of Exclaim!. Naturally, there’s a sense of genuine calm that characterizes the clip, the duo’s affability presented clearly. The performance is as crisp as any the band’s delivered; a riveting document of a variety of enviable gifts. The song itself ranks among the year’s best, as does the album, but it’s brought new life given the freedom of the expanse of space provided by a live setting, rendering this clip a can’t-miss prospect.
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2. Las Robertas (KEXP)
While an increasing number of bands are adopting a surf influence, there are only a few that are wielding that influence effectively; Las Robertas is one of those bands. KEXP recently played host to the band and received an impassioned set in return. Sunny pop melodies and a decidedly punk nonchalance keep the session lively as an interview provides some insight to the band’s inner workings (and dredges up some amusing anecdotes). Packaged all together, it’s an exhilarating ride that coasts on the dichotomy of being clearly driven but sounding effortlessly carefree.
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3. SOAK (La Blogotheque)
Between Courtney Barnett’s recent La Blogotheque turn-in and this deeply felt session for Bridie Monds-Watson’s SOAK project, it’s becoming abundantly clear that the series hasn’t slowed their ambitions. Characteristically gorgeous and surprisingly moving, this pair of songs- “B a Nobody” and “Blud”- become awe-inspiring thanks to both the committed performance and the way the performances are lensed. Monds-Watson exhibits a breathtaking command over control and restraint throughout and, by the video’s end, walks away with one of the most unexpectedly inspiring live moments of the year.
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4. Waxahatchee – Under A Rock (Wichita)
Wrapping up the run of Waxahatchee’s recent St. Pancras set is a characteristically spellbinding take of one of 2015’s best singles, “Under A Rock“. Eschewing all of the anthemic rock trappings that made the song sound so defiantly gigantic in the recorded setting in favor of a bare-bones approach, “Under A Rock” becomes another gorgeous showcase for not just Katie Crutchfield but her twin, Allison (of Swearin’), as well. It’s a fitting end-cap for one of 2015’s most gorgeous video sets and affirms that Waxahatchee is operating at the height of her current powers.
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5. Sleater-Kinney (Later… With Jools Holland)
One of the year’s most welcome surprises was the return of Sleater-Kinney, not just because they were back (which would have been a welcome return) but because they were back with a vengeance. No Cities To Love felt like an evolution of The Woods (one of my picks for best record of the 2000’s), re-establishing not only the band’s identity but their creative restlessness. The band recently stopped by the vaunted UK show Later… With Jools Holland to deliver a trio of fiery performances (“No Cities To Love”, “Gimme Love”, and “Price Tag”, respectively), resoundingly defeating any adjusted expectations in the process. Even in a nearly decade-long absence, the band hasn’t lost a step.
Over the course of the past few weeks, the influx of outstanding live videos has been staggering. Last week the series was put on a brief hold due to other personal obligations but even then, there was the threat of multiple installments for that particular Sunday. Amassing those with the live clips that followed in the subsequent week brings us to this point: there’s simply too much great material to feature to justify relegating anything exceeding the limit of five to the introductory paragraph(s). With this being the case, there will be seven- yes, seven- installments of Watch This to go live throughout the day (and possibly night).
To that end, this very introduction will be running prior to volumes 74-80 to reduce the levels of overall exposition to provide an emphasis on the material at hand. Site favorites Girlpool and Waxahatchee were seemingly everywhere this week, securing multiple entries throughout this run while Faits Divers spread-out documentation of a set from Ought (another site favorite) managed to do the same. As always, each video featured is an exemplary showcase for both artist and host, covering a wide range of sounds and styles. So, as always, sit back, adjust the volume to your preferred settings, sit up straight, lean in (or back), and Watch This.
1. Chastity Belt – Dull (WFUV)
Time To Go Home was one of the unexpected highlights of this year’s first half, securing Chastity Belt a level of recognition they’ve been deserving for some time. Here, the band turns in a blissfully casual of “Dull”, providing a showcase for their dynamic range. WFUV’s black backdrop provides a fitting background to Chastity Belt’s hazy basement pop and elevates the clip into surprisingly immersive levels.
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2. Girlpool – Chinatown (Wichita)
Closing out Wichita’s lovely outdoor trilogy of Girlpool clips is this gorgeous take of Before The World Was Big highlight “Chinatown”. As always, Cleo Tucker and Harmony Lebel-Tividad seem inhumanly connected, playing off each other with an almost telepathic familiarity and ease. Everything comes off as complementary, from the dueling melodies to the timbre of the duo’s vocals. The whole thing exudes a nearly impossible sense of lightness that’s always factored into Girlpool’s music, rendering this a surprisingly revitalizing watch.
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3. Waxahatchee – Blue (Pt. II) (Wichita)
Continuing on with Wichita’s gorgeous presentation of the Crutchfield twins performance under Katie’s Waxahatchee guise at St. Pancras Church, this clip features an aching performance of “Blue (Pt. II)”- another highlight from Ivy Tripp. Nothing more than harmonized vocals and an electric guitar guide the performance, the audience hushed throughout. The soft tones and dim lighting provide a perfect visual accompaniment, allowing the clip to become as mesmerizing as the song at its center.
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4. Ought – The Weather Song (Faits Divers)
Closing out Ought’s run, courtesy of Faits Divers, is yet another inspired performance of one of More Than Any Other Day‘s several highlights; “The Weather Song”. As always, the band’s animated throughout and delivers a crisp performance that fully demonstrates the band’s enormous live appeal. It seems like every time the band launches into a song, they transform into an unstoppable whirlwind of pure energetic force. Unable to stay still and brimming with manic passion, it makes for compelling viewing and- more importantly- powerful performances.
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5. Torres – A Proper Polish Welcome (WFUV)
One of the most delicate songs to emerge out of 2015 is Torres’ jaw-dropping “A Proper Polish Welcome”, a piece of serene beauty characterized by a sense of yearning. It’s Sprinter‘s most breathtaking moment and, in a live setting, it’s powerful enough to freeze blood. WFUV turned their cameras on Mackenzie Scott and co. as they conjured up the slow-burning showstopper, capturing something approaching the levels of transcendence in the process.
Over the course of the past few weeks, the influx of outstanding live videos has been staggering. Last week the series was put on a brief hold due to other personal obligations but even then, there was the threat of multiple installments for that particular Sunday. Amassing those with the live clips that followed in the subsequent week brings us to this point: there’s simply too much great material to feature to justify relegating anything exceeding the limit of five to the introductory paragraph(s). With this being the case, there will be seven- yes, seven- installments of Watch This to go live throughout the day (and possibly night).
To that end, this very introduction will be running prior to volumes 74-80 to reduce the levels of overall exposition to provide an emphasis on the material at hand. Site favorites Girlpool and Waxahatchee were seemingly everywhere this week, securing multiple entries throughout this run while Faits Divers spread-out documentation of a set from Ought (another site favorite) managed to do the same. As always, each video featured is an exemplary showcase for both artist and host, covering a wide range of sounds and styles. So, as always, sit back, adjust the volume to your preferred settings, sit up straight, lean in (or back), and Watch This.
1. Telekinesis (KEXP)
It takes a rare kind of personality to make a completely solo set utterly captivating and Michael Benjamin Lerner has always been one of the people capable of delivering on those levels. That fact’s clearly evidenced in this outdoor set for KEXP, where there’s a clear love for his craft. All of it translates into a vibrant, effortless showcase for his Telekinesis project, including an absolutely mesmerizing cover of Wire’s “Outdoor Miner” to get things moving.
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2. Algiers – Blood (WFUV)
Few emerging bands have given more reason for excitement than the boundary-pushing Algiers. Infusing a vast array of influences into something that feels wholly original, the band’s ascent has been rapid and- more importantly- justified. With the political bent of their music on complete display in the intro of “Blood” furthering the cause for excitement not just on a career level but inciting a deeper fascination on the performance level as well, the cards are lining up for Algiers’ future. Bringing everything to a haunting, weathered realization is the bulk of the performance itself- a jaw-dropping display of raw, innate talent.
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3. Ought – Pleasant Heart (Faits Divers)
Ought’s More Than Any Other Day was one of this site’s picks for the best albums of 2014 and the album hasn’t lost a step since its release. As great as that record was (and it was great), the band’s always excelled more as a live act, thanks to their kinetic motion. All of the best live bands recognize that the greatest advantage of playing the songs is the freedom to warp, subvert, and bend their own art rather than keeping it static. Ought’s never backed away from experimenting with the space they’re given in that setting and Faits Divers has provided exhilarating proof with an inspired take of “Pleasant Heart”.
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4. Waxahatchee – Stale By Noon (Wichita)
A lot of Katie Crutchfield’s most inspired songs, from “Noccalula” to “Singer’s No Star“, have been piano-based. “Stale By Noon” is one of the most recent entries into that repertoire, providing Ivy Tripp with one of its most arresting moments. Allison Crutchfield’s presence somehow makes this particular rendition feel even more intensely personal. Lit by candles and aided by nothing but each other, their instruments, and an adoring audience, this intimate performance of “Stale by Noon” is a powerful testament of both Crutchfield’s unwavering magnetism.
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5. Fred Thomas – Bad Blood (BreakThruRadio)
All Are Saved was my all-too-late introduction to Fred Thomas and it’s also holding firm as one of my favorite releases of 2015. It’s unflinchingly earnest and utterly sincere, grounded in a damaged humanism that makes it easily relatable. Close to every song on the record contains a moment of breathtaking clarity that deals heavily with some of life’s more conventionally unappealing minutiae. “Bad Blood” is a sustained series of those moments, captured here by BreakThruRadio in a clip that manages to secure an emphasis in all of the right places, doing its part to secure Thomas’ spot as one of the strongest songwriters operating today.
Over the course of the past few weeks, the influx of outstanding live videos has been staggering. Last week the series was put on a brief hold due to other personal obligations but even then, there was the threat of multiple installments for that particular Sunday. Amassing those with the live clips that followed in the subsequent week brings us to this point: there’s simply too much great material to feature to justify relegating anything exceeding the limit of five to the introductory paragraph(s). With this being the case, there will be seven- yes, seven- installments of Watch This to go live throughout the day (and possibly night).
To that end, this very introduction will be running prior to volumes 74-80 to reduce the levels of overall exposition to provide an emphasis on the material at hand. Site favorites Girlpool and Waxahatchee were seemingly everywhere this week, securing multiple entries throughout this run while Faits Divers spread-out documentation of a set from Ought (another site favorite) managed to do the same. As always, each video featured is an exemplary showcase for both artist and host, covering a wide range of sounds and styles. So, as always, sit back, adjust the volume to your preferred settings, sit up straight, lean in (or back), and Watch This.
1. Ought – Gemini (Faits Diver)
Continuing on with Faits Diver’s recent documentation of Ought, this clip finds the band confined to a warehouse space delivering another energized and insistent performance of “Gemini”. Restless and unrelenting, it finds Ought in top form, uninhibited by anything other than their own outsize charisma. It’s electrifying.
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2. Chastity Belt – Time To Go Home (WFUV)
Chastity Belt hit their current career peak with their revitalizing Time To Go Home which boasted one of the band’s best moments throughout an already-impressive discography in the title song. WFUV recently hosted the band for a session and allowed them to cut loose on a few songs, “Time To Go Home” included. Tempo shifts, a distinctly 90’s influence, and a lingering sense of unease ensure that this clip transforms into something surprisingly hard to shake.
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3. Waxahatchee – Blue (Wichita)
As outstanding as Katie Crutchfield’s project can be when it blooms into the full band setting, it’s just as effective- and occasionally even more effective- when it strips itself back to a rawer intimacy. Wichita recently gifted the world a session with just Crutchfield and her twin sister Allison (who she’d played with in both P.S. Eliot and Bad Banana), delivering a few of the songs from Ivy Tripp in a quiet setting (in this case, a shattering take on “Blue”) – and the results are magnetic.
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4. Girlpool – Cherry Picking (Wichita)
Another Wichita session worth looking into that pares back an artist’s sound (though this time the change is significantly more slight) finds site favorites Girlpool playing acoustic guitars in open air. As always, the vocal interplay between the duo helps ground the song at hand- “Cherry Picking” this time around- and their uncanny sense of melodic sensibility elevates a modest performance to something indefinable. Eyes closed in a blissful determination, Cleo Tucker and Harmony Lebel-Tividad deliver another deft knockout.
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5. Christopher Paul Stelling – Dear Best (ANTI-)
There are few joys that can compare to finding an outsider artist that delivers nothing but grace notes. Christopher Paul Stelling fits that bell and in this clip, courtesy of ANTI- Records, his performance skills prove to be transportive. Stelling’s a calm master of a haunted subset of rustic folk, wielding both his guitar and voice with a nuanced skill that will continue to serve Stelling well as his star inevitably rises. While he may be operating in a niche field, Stelling’s talent is boundless and here, he’s found himself in the dead center of one of 2015’s most unexpectedly stunning live clips.
Over the course of the past few weeks, the influx of outstanding live videos has been staggering. Last week the series was put on a brief hold due to other personal obligations but even then, there was the threat of multiple installments for that particular Sunday. Amassing those with the live clips that followed in the subsequent week brings us to this point: there’s simply too much great material to feature to justify relegating anything exceeding the limit of five to the introductory paragraph(s). With this being the case, there will be seven- yes, seven- installments of Watch This to go live throughout the day (and possibly night).
To that end, this very introduction will be running prior to volumes 74-80 to reduce the levels of overall exposition to provide an emphasis on the material at hand. Site favorites Girlpool and Waxahatchee were seemingly everywhere this week, securing multiple entries throughout this run while Faits Divers spread-out documentation of a set from Ought (another site favorite) managed to do the same. As always, each video featured is an exemplary showcase for both artist and host, covering a wide range of sounds and styles. So, as always, sit back, adjust the volume to your preferred settings, sit up straight, lean in (or back), and Watch This.
1. Torres – Sprinter (WFUV)
Torres’ Sprinter isn’t just one of 2015’s best songs; it’s also one of 2015’s best albums. The product of Mackenzie Scott’s unforgiving self-examination of her upbringing, Sprinter came loaded with powerful moments. “Sprinter” was one of the most gripping, detailing how Scott, like many notable artist prior, would turn to running as an escape. There’s a genuine sense of voyeurism that manages to subtly settle in, becoming unsettling in the process. It’s an experience that becomes even stronger as the song translates over to the live setting, creating a deep sense of unease before offering a cathartic release- and WFUV captures one of those performances magnificently, doubling the song’s murkier tones with the clip’s visual aesthetic. Don’t miss it.
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2. Girlpool – Before The World Was Big (Wichita)
Another stunning title track, Girlpool’s Before The World Was Big, sees the duo continue their relative domination of this stretch of coverage in a clip that comes courtesy of their label, Wichita Recordings. One differentiating factor of this session compared to Girlpool’s others is the fact both Cleo Tucker and Harmony Lebel-Tividad play acoustic guitars rather than their standard bass/guitar setup and the payoff is beautiful. One of Girlpool’s most appealing traits is that their affection for each other is so palpable, permeating nearly every note (and frame) of their work together. In this no-stakes session, the duo’s simply allowed to lean back and enjoy each other’s company, providing some of the lovelier live clips of 2015.
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3. Yuck – Middle Sea (Chalk TV)
A lot of speculation surrounded Yuck after they lost a key member, they responded with some of their best material to date. Among the myriad of highlights that came following guitarist/vocalist’s Daniel Blumberg’s departure was “Middle Sea”, a searing burst of revitalized energy. Chalk TV was on hand to capture the band performing the song at a show earlier this year and the creative restlessness that made the song so compelling bleeds through effortlessly.
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4. Ought (Faits Diver)
Only one album into their career and Ought have already established themselves as one of the most fascinating acts. Comparisons to LCD Soundsystem, Talking Heads, and David Bowie have all been lobbed at the band and while each comparison’s likely warranted, they only scratch the surface. Deceptively intricate and surprisingly intuitive, Ought have made their mark by crafting the kind of genre-defying hook-filled music that leans towards enormous appeal. “Today More Than Any Other Day” and “Habit” are two perfect examples of this dynamic and Faits Diver now has exhilarating proof of the band’s live prowess (presented in a manner that betrays a likely fascination with David Lynch, rendering it a surprisingly mysterious watch).
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5. Waxahatchee (KEXP)
The current touring iteration of Waxahatchee is the finest Katie Crutchfield’s ever assembled, enlisting members of Swearin’ (including her twin, Allison Crutchfield) and other members of the Philadelphia music scene to round out a continuously expanding sound. Here, the band tears through a selection of highlights from one of this year’s gems, Ivy Tripp (Waxahatchee’s first release for Merge Records). Sublimely pure at times, willfully discordant at others, it’s a measured showcase for Crutchfield’s vast range as a songwriter, anchored by an unforgettable voice all the while.
Over the course of the past few weeks, the influx of outstanding live videos has been staggering. Last week the series was put on a brief hold due to other personal obligations but even then, there was the threat of multiple installments for that particular Sunday. Amassing those with the live clips that followed in the subsequent week brings us to this point: there’s simply too much great material to feature to justify relegating anything exceeding the limit of five to the introductory paragraph(s). With this being the case, there will be seven- yes, seven– installments of Watch This to go live throughout the day (and possibly night).
To that end, this very introduction will be running prior to volumes 74-80 to reduce the levels of overall exposition to provide an emphasis on the material at hand. Site favorites Girlpool and Waxahatchee were seemingly everywhere this week, securing multiple entries throughout this run while Faits Divers spread-out documentation of a set from Ought (another site favorite) managed to do the same. As always, each video featured is an exemplary showcase for both artist and host, covering a wide range of sounds and styles. So, as always, sit back, adjust the volume to your preferred settings, sit up straight, lean in (or back), and Watch This.
1. Girlpool (Consequence of Sound)
Over the past year, Girlpool have been experiencing a quiet, rapid ascension in notoriety thanks to a singular take on songwriting. More than just about any other band operating, the duo have established a legitimate identity that manages to feel both familiar and singular. Here, in a lovingly shot session for Consequence of Sound, they provide some insight to their process and deliver two characteristically strong performances of Before The World Was Big‘s title track and “I Like That You Can See It”. It’s a powerful reminder of their seemingly limitless strengths and a perfect document of a young band on the cusp of reaching spectacular heights.
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2. Diet Cig – Harvard (Play Too Much)
There’s a joy inherent to Diet Cig‘s music that translates so effortlessly into their live presentation that practically guarantees them a Watch This feature spot every time a video surfaces. Over Easyremains one of the year’s best- and most endlessly listenable- releases, while Diet Cig’s live show continues to gain velocity. It’s an explosive combination that renders the duo one of the more exciting prospects in today’s music. Manic energy, genuine passion, and their visible love for their craft are given a defining image towards the clip’s closing minutes as guitarist/vocalist strikes a power stance, perched on the top of her amp and Noah Bowman’s bass drum, practically bursting with joy. All together, it’s the exact kind of thing this site was built to celebrate.
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3. Screaming Females – Shake It Off (AV Club)
Back in the 22nd volume of Watch This, The AV Club’s Undercover series took all five spots in a featured retrospective. One of those five selections was Screaming Females‘ incendiary Sheryl Crowe cover. The band and the series recently partnered up again, the band once again applying their unlikely brand to an even more unlikely cover; Taylor Swift’s inescapable “Shake It Off”. Played (mostly) straight with a fiery verve, the standout moment- unsurprisingly- is a deviation that allows guitarist/vocalist Marissa Paternoster to tear into a solo after a perfect breakdown. It’s one of the year’s most unexpectedly endearing moments.
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4. Courtney Barnett – Depreston (La Blogotheque)
Courtney Barnett‘s Sometimes I Sit And Think, And Sometimes I Just Sit will almost certainly hold true as one of 2015’s most delightful titles. As enjoyable as the record is, though, there are moments of arresting pathos and gravitas that appear throughout. One of the most fascinating is Barnett’s treatsie on suburban malaise; “Depreston”. Barnett recently met up with the usually-great La Blogotheque for a performance capture that manages to transcend the bulk of the series’ considerable output. Simply put: it’s unforgettable.
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5. Hop Along (KEXP)
One of the year’s most welcome breakout success stories was that of Hop Along’s sudden increase in exposure, recognition, and acclaim (all of which the band’s deserved since before the release of Get Disowned). Instead of being daunted by the attention, the band seems to be thriving off it- pushing themselves to go even further. That drive’s reflected in this full session for KEXP that finds Frances Quinlan and co. front and center for a lively outdoor showcase featuring songs from both Get Disowned and 2015 Album of the Year candidate Painted Shut. As if all of that wasn’t enough reason to watch (and the fact that the band’s live show’s been so powerful that they’ve been a staple of this series since it started), this set also features a back-to-back pairing of “Waitress” and “Tibetan Songs”, which will always be a moment far too perfect for words.
Heartbreaking Bravery 