woozy | Heartbreaking Bravery

December 14, 2015

Watch This: Vol. 109

Since the preceding post covered the time lapse between the last run of Watch This and tonight’s posts, this introductory paragraph will lean slightly harder on the material that’s actually come out in that interim. Two weeks can feel like an overwhelming amount of time when faced with the endless expanse of releases in any format and the live video is no exception. It can occasionally be difficult to narrow down these selections to just five when considering them all, which was the case this week as worthy efforts surfaced from the following artists: Shopping, Hooton Tennis Club, Ed Schrader’s Music Beat, Bad Bad Hats, Kurt Vile, Flavor Crystal, Hinds, Joanna Newsom, Courtney Barnett, FIDLAR, Fury Things, Black Box Revelation, Eliot Sumner, Low, Glen Hansard, Martin Courtney, Deaf Wish, Raury, Zanders, Six Organs of Admittance, Oscar, Protomartyr, Palm, Sun Club, Julia Holter, Woozy, Caleb and Carolyn, The Tambourine Girls, Little May, Forever Pavot, Mellow Diamond, why+the+wires, Iguana Death Cult, and Okkervil River. Obviously, with a list like that, the below selections are comprised of clips that truly managed to stand out, for one reason or another. So, as always, lean in, relax, adjust the volume, and Watch This.

1. Car Seat Headrest (KEXP)

Car Seat Headrest was another band from 2015 that had gained previous traction and capitalized in blinding fashion, showing a complete disregard for the thought of looking back. Understandably, KEXP invited them into their studio for a session and the band delivered one of 2015’s most towering sets in recent memory. At a monstrous running time that exceeds most full-length efforts, it’s actually a fairly intimidating ask- or, it would be if the music (and performance) wasn’t so immediately likable. Will Toledo’s got an enviable gift for pop songwriting and for subverting expectations, leading the charge in a session that more than justifies the swirling interest surrounding the band.

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2. Dilly Dally (BreakThruRadio)

If this site’s love for Dilly Dally hasn’t been made abundantly clear by now, this very sentence will probably at least give you a small indication. After torching the stages of Santos Party House and Baby’s All Right during CMJ, the band’s kept pace with their music and maintained a deliriously frantic touring schedule. All of that time playing out is paying off, tightening the screws on their already-formidable live show. It’s evident in every live clip that surfaces, including this revealing session with BreakThruRadio that includes some endearing interview segments. Turn it up and fall in love.

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3. The Lumes – Nervous + Satan (The Daily Indie)

Every so often, a relatively unknown band crops up on my radar and blows me away with how complete they seem and The Lumes definitely qualifies as one of those bands. A lightly menacing post-punk trio that excels in atmospheric work, they’ve managed to carve out a thoughtful identity that feels more singular than it should just two releases into their career. Here, they perform vicious takes on “Nervous” and “Satan”, the tracks that bookend their outstanding Lust EP. The trio gives their all in both performances and ultimately secures a spot on this installment of Watch This thanks to their overwhelming strength.

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4. Woozy – Hush (Little Elephant)

It’s been a while since Little Elephant’s hosted a session as strong as the one Woozy’s provided, committing another jewel to that particular crown with this committed take on “Hush”. Marrying genres with ease and integrating surprisingly explosive moments in fits and starts, “Hush” may actually be one of the band’s most definitive songs. Leaning heavily into their post-punk and grunge angles, they still find ways to surprise in territory that’s generally far more straightforward. Ultimately, it’s another extremely impressive showing from a band that seems surprisingly determined to top themselves with each successive outing.

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5. Bandit – The Drive Home + Dragon (Audiotree)

Closing out this run of Watch This is a performance that feels like a genuine finale, courtesy of Bandit’s beautiful renditions of two Of Life‘s highlights: “The Drive Home” and “Dragon”. The former of those two songs received one of the most gorgeous music videos of the year and has the capacity to overwhelm listeners with genuine feeling, amplifying atmospheric currents as it progresses. “Dragon” is a track that operates in a similar vein and, packaged together, they manage to elevate each other’s best qualities, which is why- in spite of a deeply impressive full session– this performance is being highlighted individually. Exemplifying all of Bandit’s finest qualities as both a band and as a live act, Audiotree struck gold with the band’s turn-in of these two songs, leaving behind something that the studio might be talking about for quite some time.

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November 29, 2015

Watch This: Vol. 105

[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. 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. Young Jesus – Every Little Landscape (The Trundle Sessions)

After a brief restructuring period, Young Jesus came out swinging in 2015 with one of the year’s finest records and an even more ferocious live show than they’d had with their previous iteration. As if that wasn’t enough, they’ve been teasing new material in their live sessions. “Every Little Landscape” is another look at the band’s promising future that showcases guitarist/vocalist’s enviable knack for songwriting. It’s a quiet, impressive moment that suggests the band’s far from done.

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2. Woozy – Gilding the Lily (Little Elephant)

Every once in a while, Little Elephant brings a band into their studio that challenges their preferred style of music while still adapting some characteristics of those genres. Utilizing elements of ambient, post-rock, ’90s emo, and a wealth of other genres, Woozy hit upon a career highlight with “Gilding the Lily”, a song that’s performed here with no shortage of focus or determination. A masterclass in dynamics and composition, it’s a deeply impressive look at a band well worth our attention.

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3. Ultimate Painting (3voor12)

After a strong debut effort in 2014, Ultimate Painting came surging back this year with even more formidable material. Utilizing the same breezy aesthetic, the band turns in a set of open-road anthems for 3voor12. The performances are uniformly strong and bristling with an almost paradoxical relaxed energy. Jangly, folk-informed basement pop at its absolute finest, this is another step forward for a band that seems determined to make a mark.

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4. Alex G – Soaker + Rules (WXPN)

Over the past several years, Alex G has built up a surprisingly passionate cult following thanks to a string of bandcamp releases, the right connections, and relentless touring. The project had its breakthrough last year with DSU and reached greater heights with this year’s outstanding Beach Music. WXPN recently invited the band into their studio and they responded with impassioned takes on both “Soaker” and “Rules”, providing the station with one of their best sessions of the year.

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5. Julien Baker (OurVinyl)

Some artists just have a natural gift for creating transcendental moments and Julien Baker has carved out a spot in their midst. Sprained Ankle, her aching treatsie on mortality and human limitations, is comprised of nothing but those moments. Whenever a record like that comes into the public eye, it’s never surprising when the live performances buckle under the weight of personal expectation. On rare occasions, the artist responsible for the collection will actually enhance the emotional impact via a commitment to the material that can feel devastating. Baker belongs to the latter category and OurVinyl provides a (gorgeously shot) definitive document of those instances. “Something”, “Sprained Ankle”, and “Rejoice” are all chill-inducing and reaffirm Baker’s position as one of 2015’s most striking songwriters.

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October 14, 2015

Sheer – Uneasy (Music Video)

Only two days into the week and it’s already overflowing with new material. Fall’s referred to as Awards Season by a sect of people primarily concerned with film but the same logistical rules tend to apply to the the music releases as well. A good placement on any notable publication’s year-end list is a huge PR boost and– depending on the publication– it can open a lot of avenues to the artists as well. This generally causes numbers to balloon in fall, in hopes that those releases stay fresh in the minds of people who have the power to genuinely affect their career trajectory.

It shouldn’t come as too much of a surprise, then, that the past few days have seen artists like Wildhoney, Alex Bleeker & The Freaks, Pet Cemetery, Martitime, Woozy, and Labasheeda all unveil full lengths. In addition to that Paper Trail Records released a staggering compilation, new songs from Sudakistan, METZ, Bethlehem Steel, Very Fresh, Casket Girls, Django Django, Cross Record, Martin Courtney, JEFF The Brotherhood, and Cass McCombs surfaced. While those are all worth taking in at least once, it’s a new name earning this post’s primary focus: Sheer.

Over the near two years of this site’s existence, there’s been a tremendous amount of focus on acts incorporating elements of shoegaze, grunge, early ’90s slacker punk, and basement pop. So a band that filters all of the former elements through the guise of the latter is going to have my full, undivided attention. Enter: Sheer. “Uneasy”, the music video for their forthcoming record of the same name, is Sheer’s first major piece of publicity having formed just a touch over a year ago.

The band comes off as fully formed, bringing a strong sense of identity to the Colin McCaffrey-directed clip for “Uneasy”. Nothing feels out of place and the band’s sense of control over every aspect of their craft is impressive. Primarily a performance edit for the verses, McCaffrey heightens the band’s atmospheric half-time drop in the chorus by augmenting it with some stunning visuals and seamlessly merging the two for the song’s breathtaking bridge. Soft transitions, lens flares, and a faded color palette all lend to the palpable sense of damaged romanticism in “Uneasy”. It’s a startlingly beautiful look at a band that’s well on their way to becoming a much bigger name right out of the gate.

Watch “Uneasy” below and pre-order the band’s debut from The Native Sound here.

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October 10, 2015

Laura Stevenson – Claustrophobe (Stream)

More than four dozen items into today’s review of the past week of music and there’s still more than a dozen things left to cover. That’s absurd. It’s also indicative of just how consistent 2015’s been in terms of great new releases. Whether it was a pair of music videos from Pity Sex and Will Butler or what essentially amount to attention-snagging previews from Heavy Looks and Chris Sutter‘s intriguing solo venture Genie’s Organ Recordings. There were also outstanding new songs from Woozy, Three Man Cannon, Holy Oysters, Haybaby, Broadcaster, British Sea Power, Palmas, and Polyon, as well as a deeply compelling full-length from Brooks Strause. In addition to that wealth of memorable material, there was a breathtaking new song from site favorite Laura Stevenson.

Coming off of a career high– 2013’s Wheel, a wonderful record that keeps improving with age– Stevenson had the unenviable task of following up an unlikely genre classic. As each new song from the songwriter’s forthcoming Cocksure trickles out, the more it seems like the record may surpass its predecessor. “Claustrophobe”, the latest single to be unveiled from the record, makes an immediate impact with its stargazing guitar line and insistent piano-plinking. Unfurling with grace and determination, “Claustrophobe” plays to Stevenson’s most anthemic sensibilities, with its monster chorus doing quite a bit of its own heavy lifting.

Propulsive, dynamic, and bittersweet, “Claustrophobe” is the latest extension of a continuously improving winning streak from one of this generation’s more under-appreciated songwriters. If the rest of Cocksure lives up to its previews, Stevenson’s name may be appearing in a lot of desirable places. For now, the best course of action’s to simply enjoy the music and the building anticipation for the October 30 release date. Just hit repeat until that day arrives.

Listen to “Claustrophobe” below and pre-order Cocksure from Don Giovanni here.

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September 28, 2015

Midnight Reruns – There’s An Animal Upstairs (Stream)

It’s been a long while since an individual song was featured on this site, a happenstance that’s left the floodgates open and the banks flooded. To that end, there’s a long list of those songs that will be included over the majority of the next few posts- all of those outpourings will, as always, will be accompanied by a featured song. This post’s headlined by a band that’s no stranger to this site but still relatively unknown to the listening world at large: Midnight Reruns.

The band’s sophomore full-length, following an extremely promising debut and a sophomore EP that expanded on that promise, was produced by Tommy Stinson and is due out in a few weeks on Dusty Medical (their first for the label). It’s a hard-charging burst of hook-heavy, punk-leaning rock n’ roll that sounds distinctly Midwest and the assault is led by the surging “There’s An Animal Upstairs”, which– nearly impossibly– also benefits from a genuine sense of breeziness.

Marked by the band’s characteristically formidable dual-guitar attack (something that’s earned them more than a few Thin Lizzy comparisons) and guitarist/vocalist Graham Hunt’s increasingly impressive lyrics, “There’s An Animal Upstairs” takes the already raised bar and kicks it up a few levels. Highlighting this ongoing evolution are the opening lines of a chorus section that floored me on first, second, and 40th listen: “I can feel my proteins burn/and I can feel my atoms/I can feel my stomach churn/and overflow with acid”- a section that hints at what the rest of the album has to offer.

Riding their usual crest of half-drunk Replacements heroics, the song also finds the Milwaukee quartet deepening their grasp on dynamics as well. Everything about “There’s An Animal Upstairs” clicks so well that it practically justifies the awed pre-release compliments its been picking up on its own power. There’s a certain sense of identity that accompanies the song, lending it a considerable amount of power and furthering its immediacy.

Every shift the song takes is maximized for its fullest impact, with each of those hairpin turns navigated with a precision that somehow compliments the songs giddy, shambolic aesthetic. It’s a song of conflicting components that continuously find surprising ways to reconcile and ensure that “There’s An Animal Upstairs” isn’t just great but genuinely memorable. An earworm with an incredible amount of substance, it’s also one of the best songs of the year and should prove more than a little helpful in ensuring Midnight Reruns their proper place on the map.

Listen to “There’s An Animal Upstairs” below, pre-order Force of Nurture from Dusty Medical here, and scan through a long list of some great recent songs beneath the embed.

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Joanna Newsom – Leaving the City
Helvetia – Crumbs Like Saucers
Saul Williams – Horn of the Clock-Bike
Gun Outfit – Dream All Over
Jono McCleery – This Idea of Us
Primitive Parts – Troubles
Emilie Levienaise-Farrouch – Strelka
Seratones – Necromancer
Vision – Inneraction
Black Abba – Betting on Death
BREVE – Movement
Little Fevers – Make It Easy
Historian – Pulled Over
Ex-Breathers – Car
Expert Alterations – You Can’t Always Be Liked
Keeps – I Don’t Mind
Operator – Requirements
Lust For Youth – Better Looking Brother
Bethlehem Steel – 87s
NØMADS – Traumatophobia
Wavves – Pony
Frankie Cosmos – Sand
Prom Body – Ultimate Warrior
Billie Marten – Bird
Hazel English – Fix
Cheatahs – Signs to Lorelei
Black Honey – Corrine
Joseph Giant – On the Run
Swings – Tiles
Kinsey – Youth
Woozy – Gilding the Lily
Casket Girls – Sixteen Forever
Mal Blum – Robert Frost
Palmas – I Want To Know (Your Love)
Let’s Say We Did – Sometimes Every Second Is A Dream
Go Deep – Palms
Spencer Radcliffe – Mermaid
Evil Wizardry – Ajax Takes Both
Tracks – Moonlight
Skinny Girl Diet – Silver Spoons
Black Lips – Freedom Fries
Decorations – Girls
Alex Chilltown – Cwtch
SULK – Black Infinity (Upside Down)
Air Waves (ft. Jana Hunter) – Thunder
Microwave – Thinking of you,
Long Beard – Dream
Softspot – Abalone
Dan Friel – Life (Pt. I)
Oberhofer – Sun Halo
Club 8 – Love Dies

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August 18, 2015

Shannon & the Clams – It’s Too Late (Stream)

After a strong start to the week, this Tuesday saw the flood of releases pumping the brakes a little but still delivering a handful of great songs and music videos. The former category saw the release of Summer Twins’ “Demons“, Lou Barlow’s “Wave“, Julien Baker’s “Something“, Woozy’s “Venom“, and Destruction Unit’s “The Upper Hand“, while the latter category lodged fascinating new entries from Kagoule, Brick + Mortar, and Gangrene (ft. Sean Price and Havoc). While all of those managed to pack a formidable amount of strength, today’s focus fell to an old site favorite: Shannon & the Clams.

Already several releases deep into a legendary career that’s amassed the band a feverish cult following, Shannon & the Clams are showing no signs of slowing down. On “It’s Too Late”, the characteristically charismatic second single off the band’s forthcoming Gone by the Dawn, the band demonstrates a casual mastery of their craft. Utilizing the many strengths of Shannon Shaw (the band’s bassist/vocalist) to perfection, “It’s Too Late”- over the course of it’s two-minutes-and-change run-time- sees Shannon & the Clams taking what feels like a well-earned victory lap. There are no stakes on “It’s Too Late”, just an almost sheepish carefree vibe that suits the band’s retro-leaning mold to a tee. Irresistibly light, fun, and perfect for the last days of summer, “It’s Too Late” is the band’s latest nod, wink, and smile. Don’t let this one disappear.

Listen to “It’s Too Late” here and pre-order Gone by the Dawn from Hardly Art ahead of its September 11 release date here.

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December 29, 2014

14 of ’14: The Best Splits of 2014

Once again, it feels necessary to start with a (likely unnecessary) disclaimer about the word “best” when it comes to year-end posts. “Best”, in nearly every case, is just shorthand for “most admired”, it’s not a stab at a definitive statement; in these kinds of rankings there’s no room for any perceived objectivity. Another quick note before diving into this list in earnest; for all year-end coverage, the first person narrative restriction that’s usually implemented here will be dropped to allow me to speak on a more personal level, as these are the released that affected me personally and reflect my own personal tastes. 2014 was a fairly strong year for split releases, which are experiencing a new level of exposure thanks to the renewed interest in cassettes and vinyl, as those are the two formats they’re on most frequently. There were two, three, and four band splits released over the past 12 months that ranked among my favorite releases in any format. As holds true for every year, not everything can be listened to (I’m sure something like the extremely limited-run Florist/Eskimeaux tape is incredible but I came to it too late to snag a copy) Labels have been rallying around these releases particularly hard, in part because there’s an allowance for collaboration with other like-minded labels that isn’t always possible with standard single-band releases. From bands covering each other on flip sides of the same tape to bands trading off places throughout a release to a few of the year’s best songs, there’s a lot to explore in the list below- a list that cheats the “14” rule ever so slightly with the rules being bent for the top two spots (it just didn’t seem fair to have two bands being responsible for four of the top five spots). Dive on in and hear 14(+) of the splits that deserve homes in as many collections as possible.

[EDITOR’S NOTE: A few of the releases included below are set to autoplay in weird parts of these releases so keep an eye out and listen to each in full.]

14. Adult Mom / Cyberbully Mom Club / i tried to run away when i was 6 (but got too scared to cross the street)

Cyberbully Mom Club quietly put together one of the most impressive runs of genuinely great releases this year and this split- with Adult Mom (who also had a pretty great year) and i tried to run away when i was 6 (but got too scared to cross the street)– still managed to be a standout effort. As spellbinding as it sincere, it’s a record worth keeping around for a very long while.

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13. Big Ups / Washer

Big Ups are easily one of the most exciting bands of today and they keep pushing themselves to go further with each subsequent release. On this split with Washer, both bands give it their all and wind up with one of the stronger short entries in Exploding in Sound’s ridiculously impressive 2014 catalog.

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12. Dikembe / The Jazz June

A resurgent The Jazz June came out of a 12 year absence with their best song to date (and one of the catchiest chorus hooks of the year) and had it paired with an up-and-coming band that shared some of their best qualities. Between the two songs on display here, the split the two bands released felt more complete and unified than a lot of bands’ own full-lengths.

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11. Joyce Manor / Toys That Kill

Never Hungover Again earned Joyce Manor typically strong critical returns but it was their split with outsider punk perennials Toys That Kill that hit hardest. Each of the four songs included in this split feature both bands at their absolute best; tinkering with the lines that separate punk from pop with an exacting, exhilarating precision.

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10. Dog / Big Neck Police

Damaged. Delirious. Dangerous. Terrifying. Four words that could all aptly describe the relentlessly aggressive bleakness of this split between Dog and Big Neck Police. Seven songs that offer the perfect descent into complete and total chaos while flirting with tension dynamics to create a genuinely pulverizing effect.

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9. Big Eyes / Post Teens

Big Eyes have been releasing incredible material ever since their demo so it’s no surprise that this split with Post Teens (who also had an excellent split with Rose Cross this year) fought its way into this list. Pairing with Post Teens proved to be surprisingly sensible as both bands like to go full-force as much as possible and- more often than not (this split being one example)- wind up with rousing results.

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8. Trust Fund / Lone Omi / Something

Utilizing a little-used tactic can create intrigue pretty instantaneously and the decision to alternate bands throughout this six song set- formally titled Sick of Hits Vol. 2- is something that pays off beautifully. Reeks of Effort is a label that’s built its name around bands that challenge the conception of twee; any time there’s a danger of things becoming overtly whimsical they get cut to shreds by barbed wire. It’s a dynamic that makes Reeks of Effort’s roster- and Sick of Hits Vol. 2– worth celebrating.

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7. Speedy Ortiz / Chris Weisman

“Doomsday” isn’t just one of the best songs of this year, it’s arguably the best of Speedy Ortiz’s career (and possibly even one of the best of the decade). That song alone would have been strong enough to land this release- the best of the laudable LAMC series to date- a spot on this list. Fortunately, it’s backed by a beautifully plaintive song from Chris Weisman (whose Monet in the 90’s was one of this year’s hidden gems) that somehow holds its own as the flipside to such a powerful song. Together, they make for the year’s best two-song release.

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6. Girlpool / Slutever

I haven’t made even the slightest effort to hide my love of Girlpool, a young duo that embodies things which make them worth rallying behind. Here, Cleo Tucker and Harmony Tividad cover their friends in Slutever (who return the favor) while contributing two arresting originals. While Slutever haven’t quite enjoyed Girlpool’s level of exposure, they stepped up to the plate for this split and connected hard enough to create what should be some long-lasting repercussions. Fierce and unapologetic, it’s definitive proof that neither band’s going to be backing down anytime soon.

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5. Bad History Month / Dust From 1000 Years

“Staring At My Hands” is a song that’s come to mean quite a lot to me over the past few months and it’s the strongest moment on this split cassette/split LP from Bad History Month (formerly Fat History Month/Sad History Month) and Dust From 1000 Years. That’s not to downplay any of the others; this is a genuinely mesmerizing release at every turn. Willfully left-field and wrapped in the same cloth, it reverberates long after the final notes of the hazily elegiac “Party Song”.

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4. Mannequin Pussy / Dog Legs

One of the year’s most unexpectedly incendiary releases, this weird anomaly (it can- somehow- rightfully be called both a split and an EP compilation) was a sharp, glancing punch to the face. Teeth get bared, sharpened fingernails get flashed, and fists get clenched ten times over. Mannequin Pussy and Dog Legs both turn things up to 11 and advance their agendas with brute force. Immediate, engaging, and intimidatingly powerful, it easily ranks among 2014’s finest releases. During the split’s limited release run it also came with the added bonus of a 16 page zine featuring artwork from both acts.

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3. Whirr / Nothing

Both Whirr and Nothing, two of the biggest names in today’s crop of shoegaze-heavy bands, released full-lengths this year. While both of those releases were well worth spending time on, it wasn’t until they came together that they made something extraordinary. Every song on this split ranks in the realms of career-best for both acts, as if they were all successive dares rooted in incredibly formidable one-upmanship. At four songs, this managed to stand out as one of 2014’s most impressively towering releases; the scope and depth of each song is a complete shock because of how expansive they manage to become without ever tipping into the comically bombastic. An extraordinary effort from two bands that sound incredible together (which is unsurprising, considering they share at least one member) and completely revitalized in such a contained setting.

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2. Joanna Gruesome (Joanna Gruesome / Perfect Pussy, Joanna Gruesome / Trust Fund, Joanna Gruesome / Tyrannosaurus Dead)

In 2014, there were two bands that aimed for the fences and went way beyond when it came to split releases. Joanna Gruesome was one of them. It would have been much more of a nightmare for the rankings between these two had Joanna Gruesome’s split with Tyrannosaurs Dead included a new song rather than one of Weird Sister‘s many highlights. Between their extraordinary Astonishing Adventures split with site favorites Perfect Pussy (whose contributions were as dazzling as anything they’ve done) and their split EP with site favorites Trust Fund, they were responsible for half of two of the year’s finest releases- and what halves they were. “Psykick Espionage”, “Jerome (Liar)”, “…And Keep on Reaching for Those Stars”, “Reading the Wrappers”, “No Pressure”, “Scared”. Six songs that would have made up one of the best EP’s of any of the past 10 years or more. Joanna Gruesome are quickly turning into an unstoppable force of nature and pretty soon there are only going to be two options: get caught up in their spell or get the hell out of their way.

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1. Ovlov (Ovlov / Little Big League, Krill / LVL UP / Ovlov / Radiator Hospital, Ex-Breathers / Ovlov / Gnarwhal / Woozy)

If any band had a more impressive year with splits than Joanna Gruesome, it was Ovlov. Turning in some of the year’s best songs (“The Great Crocodile” and “Ohmu’s Shell”, respectively) on the year’s best four-band split and what was easily one of 2014’s best two-band splits (with Little Big League’s “Year of the Sunhouse” also registering as one of 2014’s strongest highlights) is no small feat. Their contribution to their split with Gnarwhal, Woozy, and Ex-Breathers was that release’s strongest moment- they had a lot more competition from Krill, LVL UP (“Big Snow” being yet another year-end worthy highlight on its own accord), and Radiator Hospital (though both still would have earned a spot somewhere on this list had it been kept to individual releases). Ovlov’s songs- much like the songs on display in the Whirr/Nothing split- are absolute monsters, showcasing the band’s range in a breathtaking display of power. Should any of these songs be good indicators for the full-length Ovlov is ramping up to, then we’re in for some serious fireworks whenever it drops. For now, this small collection of songs is more than enough to tide anyone over until- and then well past- that album’s release.

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September 22, 2014

Iceage – Glassy Eyed, Dormant and Veiled (Stream)

Another day down, another long list of items to discuss. With summer officially over, it’s time to start focusing in on the fall releases. Tomorrow will see the official release of LVL UP’s Hoodwink’d, one of the year’s best records. Similarly, in a few weeks Iceage will release Plowing Into the Field of Love, a record that continues to expand on its promise in leaps and bounds. Before discussing that last point in greater detail, it’s worth mentioning that incredible new pieces of content are appearing with a regularity that’s starting to border the tenacious. Today alone saw the unveiling (or first notable coverage) of music videos from WAND, Lonesome Shack, The Wans, and an absolutely stunning effort from Cloud Castle Lake that plays with space in a manner so fascinating that it nearly earned a very lengthy write-up as today’s feature by virtue of that aspect alone. There was a very strong 7″ that surfaced from Terry & Louie, a duo composed of Terry Six and King Louie Bankston- who both formerly played in The Exploding Hearts (among many other great subsequent projects). And, as always, there were songs- including (but certainly not limited to): a hypnotic Nick Cave-assisted effort by Marianne Faithfull, the first look at Sundials’ Kick, a previously cassette-only exclusive track from Alvvays, Gnarwhal‘s contribution to an upcoming four-way split that boasts some of the year’s most intriguing names, and “Audrey’s Song“- a sampling of Trophy Wife’s just-released All The Sides.

Now, onto the main event- which once again comes courtesy of Iceage. Following the excellent trio composed of “The Lord’s Favorite“, “Forever” and “How Many“, comes “Glassy Eyed, Dormant and Veiled”. After an impressive array of combative styles that proved to be even more antagonistic that the band’s earliest material, “Glassy Eyed, Dormant and Veiled” finds the band reining things back into an unexpected level of restraint, showing an admirable self-awareness that suggests a talent for composition well beyond their years. Recalling an alternately nightmarish Henry’s Dream with this particular at bat, Iceage have managed to definitively establish a creative growth that should pay massive dividends for them once Plowing Into the Field of Love is revealed in full. Guitars course, the prose rages, and the rhythm section manages to be more imposing than ever before. Importantly, it also enhances the band’s newfound penchant for Southern Gothic to an extent that’s, arguably, even more fully-formed than “How Many”.

While it’s still too early to declare it a bona fide masterwork, everything that the four preview tracks have shown, in one way or another, suggests that may be exactly how Plowing Into the Field of Love will come to be defined. If Plowing Into the Field of Love is rounded out by songs that live up to “Glassy Eyed, Dormant and Veiled” (or any of the other three that have been released) and Iceage continues to make music that sounds this brave and timeless, they may wind up being one of this generation’s most celebrated bands. Whatever does wind up happening when Iceage is allowed their big moment, it’ll be worth paying very close attention to- this has already demonstrated the potential to be a watershed moment. “Glassy Eyed, Dormant and Veiled” is just another running step forward towards a full-on cliff dive and if the take-off is as spectacular as the song, we’re all in for one hell of a ride.

Listen to “Glassy Eyed, Dormant and Veiled” below and pre-order Plowing Into the Field of Love here.

September 12, 2014

Nano Kino – Eyes Before Words (Music Video)

Since the majority of the start of this week was spent on the road, it’s been difficult to be as vigilant about keeping up with the new music and videos that have been coming out. Today, that changed and the amount of great content is almost overwhelming. Every single one of the items that are going to be hyperlinked following this sentence are worthy of being the feature item. Those include full album streams from Mumblr and Sleepyhead (their first in 15 years), and a stream of Parquet Courts and Future Punx’s split 7″. There were excellent music videos from Death From Above 1979, Lace Curtains, and Brick Mower. Most of all, though, there were great new songs. Cut Teeth offered up a post-hardcore ripper, Ovlov provided a tantalizing glimpse at their upcoming 4-way split with Ex-Breathers, Woozy, and Gnarwhal. There was a smoky piece of folk-psych from Mail the Horse, a new Pity Sex song that ranks among the best of the year and teases an upcoming split with Adventures (it’s also their career-best), a new look at an upcoming EP from the increasingly popular Girlpool, a fiery Stereolab cover from Greys, another indicator that Dark Blue’s Pure Reality will be one of the year’s best records, another gentle piece of bliss from Eternal Summers, a snappy piece of riff-happy outsider pop from Little Big League that- like the Pity Sex song from just a few hyperlinks ago- ranks among the year’s best, another incendiary look at Meatbodies’ upcoming record on In the Red, and a brand-new career highlight for King Tuff. That’s one hell of a haul.

All of those are likely to get features elsewhere- if they haven’t already had them (and most have)- and Heartbreaking Bravery would be nothing if it wasn’t for the bands that are flying under the radar. Those are the kind of bands that this place strives to support- and Nano Kino (which translates to “very small cinema”) is one of them. And while the duo does include Duncan Lloyd of Maximo Park (and Decade in Exile), their profile’s currently surprisingly contained- which isn’t likely to last too long. There are chilly atmospheres that permeate throughout the duo’s music, using no-wave and post-punk as their major touchpoints while exuding an icy demeanor not too far removed from The xx. A lot of the band’s intrigue gets an extra push thanks to the mysterious vocal performances of Sarah Surl, the duo’s other member. While there’s still a considerable sense of mystery to be found in the textured guitar work that Lloyd provides, Surl gives it a strange sense of humanism that allows Nano Kino to eclipse so many similarly-minded acts.

Nano Kino currently have plans to release their debut record in the early parts of next year but have promised to tease pieces of the record in the lead-up campaign. One of the first pieces they’ve offered up is a visually stunning black-and-white clip that emphasizes the band’s penchant for noir-ish sensibilities. Bringing in other visual aesthetics to the fold (there’s a prominent French new wave influence running throughout this- as well as a lot of glances towards Spain’s golden-era of silent film), “Eyes Before Words” winds up being a quietly intense experience. Using grainy superimposed imagery (that’s occasionally stripped back to isolation) to maximum effect helps make this a video that stays with the viewer long after the final whispers of the fade-out. It’s unrelentingly poised and announces Nano Kino as a band that’s embraced a very particular vision- one that could wind up meriting critical and commercial success. Whatever the future does hold for Nano Kino, it’ll be a pleasure watching them fight their way forward- especially if the ensuing releases all manage to be as arresting as “Eyes Before Words”.

Watch “Eyes Before Words” below and keep an eye on this site for updates in the coming months.

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August 14, 2014

Follies – I Make Sense (Stream)

Over the past few days, there’s been a lot of great content to be unveiled. This is including, but certainly not limited to, a great new Dead Soft video “Everything”, a stream of a new Parlour track for an upcoming compilation from the always-outstanding Marshall Teller imprint, a look at the upcoming album from the deservedly legendary Blonde Redhead, and a new stream from Big Mess (courtesy of Allston Pudding). There was a great new self-titled EP released by Crossed Wires, a first look at Trust Fund‘s side of their impending split with Joanna Gruesome, a new song from Colleen Green, and an engaging music video from The History of Apple Pie.

Now, 2014’s already seen a treasure trove of genuinely great releases bearing the Double Double Whammy stamp and they’re adding to that already enviable streak with an impending split between Wishbone and Follies. The latter of those two bands has raised anticipation for this release considerably by offering a glimpse at their side by offering a stream of the damaged, feverish “I Make Sense”. It barely eclipses three minutes but packs so much raw lo-fi weirdness into them that it’s difficult to gauge the run time at all.

Changing at the drop of a dime, there’s a myriad of fascinating influences all gnawing at each other in the forefront of “I Make Sense”, rendering it a winsome mess that’s utterly entrancing. Whether it’s outsider pop through a psych lens or a new breed of shoegaze-influenced post-punk or just an unfiltered version of Phil Hartunian’s personality (he’s the driving voice behind the Follies project), “I Make Sense” still stands as a gripping piece of music that, like all of the best art, is impossible to completely define. There are very few songs that have been released in the past month to be this courageously weird- or this unrelentingly hypnotic.

Stream “I Make Sense” below and make sure to pre-order the split from Follies’ bandcamp.

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