Heartbreaking Bravery

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Tag: YJY

A Two Week Toll: Music Videos

Continuing on with the precedent set by the previous post, everything here is designed to celebrate some of the best releases of the past two weeks. This time around, the emphasis falls to music videos. There’s an incredibly expansive array of material to be discovered via the links below. Click through some of the titles or bookmark this page and click through everything, there’s a very good chance a new favorite’s waiting somewhere in the wings. Enjoy. 

Boytoy, Menace Beach, Petal, Big EyesFake Palms, The Tuts, Jay Som, Hovvdy, Eyelids, Tacocat, Toys That Kill, Emilyn Brodsky, Priests, YJY, Weyes Blood (x2), Pumarosa, Computer Magic, Banana Split, Midnight FacesKraus, Wyatt Blair, Johanna Warren, Aidan Knight, Jayle Jayle, The Faint, Chromatics, Soft Fangs, Berwanger, WALL, Xenia Rubinos, Scully, Shura, Cass McCombs, Mile Me Deaf, Duchess Says.

PillMatt Kivel, San CiscoHalfsourWoods, VacationJoan of Arc, Womps, Slow Mass, Kvelertak, Slow Club, Alex Izenberg, Amber Coffman, Nick Waterhouse, Balto, Hurry, Navy GangsIzzy True, MarineSavoy Motel, Mutual Benefit, Balcanes, The Dandy Warhols, Yellow DaysThe WharvesMadeline Kenney, livThe Dirty Nil, Joyce Manor, Mutts, Ex Reyes, Big SmokeGloria, Earwig, and RF Shannon.

Slanted – Fake Party (Stream)

slanted

Last Friday saw great new streams from Car Seat Headrest, Idiot Genes, Never Young, The Minders, Balto, and Middle Kids. Additionally, there were a string of impressive music videos Lydia Loveless, Liam Betson, Carl Broemel, Jail Weddings, and Retail Space. Full streams that came via AJJ, The Afterglows, YJY, Tanukichan, Whipworm, Bangladeafy, and See Gulls padded everything out with an extra dose of substance.

Casey Weissbuch‘s Slanted project also unveiled a surprise release that was headlined by the formidable “Fake Party”, one of Weissbuch’s finest songs to date. Following up last year’s extraordinary Desire For Lust, “Fake Party” once again demonstrates Weissbuch’s knack for composition. While the song’s lyric set is arguably the most polished Weissbuch has offered, it’s the song’s ability to breathe that makes it a genuine standout. Dynamic, open, and effortless is a surprisingly difficult combination to pull off but “Fake Party” excels by that very virtue, providing a level of life that’s absent from the majority of releases that make similar attempts.

Of course, the atmospheric tone of a song can only carry it so far on merit, the genuinely great songs are able to separate themselves by succeeding in other capacities. Make no mistake, “Fake Party” is a great song. From the light auto-tune running through the vocals to the breathtaking bridge and outro sections, not a moment of “Fake Party” is wasted. Everything’s designed for maximum effect, even though it always retains a spur-of-the-moment feel that’s essential to its success.

“Fake Party” also sets the tone for the remainder of the Party EP, which is comprised of two similarly excellent tracks (“Green Balloons//Walk of Life” and “Junk”). By establishing “Fake Party” as the introductory piece, the song’s risks are allowed to be elevated and to define the EP’s palette, which works to both the advantages of the EP and the song itself. The characteristic, Pavement-esque looseness is still there and Weissbuch even name-checks Guided By Voices (another evident influence) in the first verse, providing a revealing glimpse at how openly Weissbuch embraces Slanted’s influences.

Packaged together as a whole, “Fake Party” paints a portrait of an artist who thrives on sincerity, soaring melodies, and a sense of history. The song’s imbued with an easygoing confidence that plays perfectly into Slanted’s identity. Apart from being a legitimately great song, “Fake Party” is also a potent reminder that the DIY punk scene is currently an embarrassment of riches and exist in an environment that’s facilitating these types of releases. Sadly, that easy access is allowing too many people to regard these releases as disposable entries. As casual as they may seem at first blush, their existence remains deeply important. Songs — and artists — this good deserve to be celebrated.

Listen to “Fake Party” (and the rest of Party) below and pick the EP up here.

LVL UP – Hidden Driver (Stream)

LVL UP II

Another Tuesday, another slate of astounding new tracks fighting for a feature spot. Little Kid, Soccer Mommy, Hypoluxo, Dinowalrus, The Westerlies, Pavo Pavo, Chris Farren, The Cut Losses, YJY, Slow Mass, The Alpacas, Luxury Death, Bring Prudence, and Touché Amoré (which features a lovely, unexpected turn from guest vocalist Julien Baker) were all in on the action. As ridiculously strong as all of those were, the bulk of the attention will fall to site favorite LVL UP‘s explosive “Hidden Driver”.

Coming on the heels of “Pain“, “Hidden Driver” continues the bold expansions that the quartet’s promised for the forthcoming Return to Love. Right from the onset, “Hidden Driver” is able to assert itself as a beast of a different sort for the band, deftly combining the aesthetics that define their compellingly rough-hewn demo collections and their polished studio work. As the song begins to pick up its ferocity, a synth line becomes increasingly prominent, giving the whole affair an extra touch of vibrancy.

Guitarist/vocalist Dave Benton anchors this contribution, providing a healthy dose of his enviable songwriting gifts and applying a sense of tenacious urgency in the process. Leaning heavily on the spiritual realm for the narrative, Benton gets off one of the most memorable couplets of his career with “God is peaking, softly speaking.” It’s a moment of contemplative euphoria that bristles with life, even as it stares down the barrel of mortality.

All of “Hidden Driver” comes across as one of the most focused things the band’s ever assembled, simultaneously drawing from established patterns and a willingness to explore the unknown (a trait that manifests in both the musical composition and lyrical narrative). The band’s rhythm section has rarely sounded as aggressive as they do in the song’s vicious main section, which culminates with some of the most effective guitar work of LVL UP’s entire discography.

As “Hidden Driver” ultimately dissolves into ambient noise, the anticipation for Return to Love grows stratospheric. “Pain” and “Hidden Driver” on their own have constituted two of 2016’s strongest turn-ins while both hinting at the breadth of the quartet’s broadening scope. If the rest of the record can live up to the precedents set by the first two glimpses, Return to Love will confidently stand as one of the year’s best records. All that’s left to do is wait and put “Return to Love” on repeat.

Listen to “Hidden Driver” below and pre-order Return to Love from Sub Pop here.

Lost Boy ? – Goose Wazoo (Stream)

Lost Boy ? IV

After a relatively quiet run for new releases at the onset of this week, Wednesday threw things back into full sprint with great streams surfacing from Clearance, Lithuania, Honey Bucket, Cool Ghouls, Pill, Hillary Susz, YJY, Maxwell Drummey, Elephants, Helena Deland, Kishi Bashi, Breathe Panel, Ex-Cult, Hyetal, Aaron Holm, Protomartyr, and Idiot Genes. In addition to those, there were excellent music videos that arrived courtesy of Savoy Motel, Charles Bradley, Psychic Ills, Show Me The Body, Oshwa, Trails and Ways, Sugar Candy Mountain, Kid Congo & The Pink Monkey Birds, and Foreign Fields. Full streams from Jody, Heaters, and Preen rounded things out in memorable fashion.

Earning the featured spot was site favorites Lost Boy ?, who’ve been relatively quiet since releasing one of the best basement pop records in recent memory. That record, Canned, set expectations astoundingly high for their follow-up and now the band’s offered up a first glimpse via the characteristically off-kilter “Goose Wazoo”. The nonsensical title is a solid indicator of the song, which fearlessly embraces zaniness while simultaneously managing to keep the proceedings impressively grounded.

Lost Boy ? mastermind Davey Jones has more than proven his worth as a songwriter and it’s wildly entertaining to hear him tackle a more experimental approach. Jones has made Daniel Johnston’s influence on his work incredibly transparent over the past few releases (and has been known to cover the artist from time to time) but that influence reaches a fever pitch on “Goose Wazoo”. From the vivid cartoon-friendly narrative to the vocal delivery, Johnston’s spirit’s present but it never quite overtakes the singular identity that Lost Boy ? has managed to cultivate.

From the melodic shifts to the vocal quirks, everything on “Goose Wazoo” indicates that Canned wasn’t a fluke release; Lost Boy ? seems determined to cement a status as a great outsider artist. “Goose Wazoo” alone goes quite a way in establishing that status as a palatable goal. A complete joy, a tantalizingly unique entry, and an impressive display of both confidence and artistry, “Goose Wazoo” is the kind of song that won’t fade easily. More importantly, it’s one that holds up to a dozen consecutive plays without losing an ounce of its oddball charm.

Listen to “Goose Wazoo” below and keep an eye on this site for more news surrounding the band and their upcoming release.

Yankee Bluff – I (EP Review)

Dogs On Acid II

To close out last week, a variety of great songs got released from the likes of Jeff Rosenstock, Sharon Jones & the Dap-Kings, The Channels, YJY, Morgan Delt, Color Tongue, Pill, Multicult, Alphabetic, dreambeaches, and DYAN. While all of those tracks were certainly worthy of a great deal of attention, this featured spot goes to the surprise debut from Yankee Bluff, a band that was born out of the ashes of site favorites Dogs On Acid (pictured above), who announced both this new project and their end in a recent Facebook post.

While losing Dogs On Acid is tough to swallow, the sudden appearance of Yankee Bluff helps smooth out the transition. Helping matters even further is the fact that their debut EP, I, easily ranks as one of the format’s finest entries of the year. Beginning with “Agessi”, demonstrates the songwriters’ increasing knack for nuanced basement pop and distances them even further from their emo roots.

Anchored by a compellingly battered production aesthetic, everything in comes across as surprisingly grounded without sacrificing some towering pop-leaning hooks. As the EP progresses, a folk undercurrent slowly emerges, recalling some of Tenement‘s more Americana-informed works. By the time hits its halfway point, Yankee Bluff have fully announced themselves as a democratic collective, allowing each member’s respective voice the opportunity to become distinctive, bringing their contemporaries in LVL UP to mind.

There aren’t any weak patches throughout the EP, with each song demonstrating a new angle that Yankee Bluff manages to successfully explore, a trait that will undoubtedly work to their advantage down the line. Whether they’re latched onto the near-anthems that Dogs On Acid cranked out a startling rate or the slow-burning acoustic act that defines the EP’s penultimate track, they also manage to cultivate a singular identity and establish themselves as a very serious force.

Ultimately, stands as an unlikely — and unexpected — triumph. In the wake of losing one of the best bands of the past few years, we’ve been gifted a band that’s very capable of taking up the mantle. is as good of a debut as anyone’s likely to hear this year and opens up the doors for even more impressive material in the coming years.

As Dogs On Acid recedes into the distance, it’ll be incredibly reassuring to have the privilege of watching their spiritual successor keep their flame alive and burning while forging an entirely new path. Even at the start of the party, there’s already an abundance of riches. Pick them up and hold them close, value them with the respect they deserve, and don’t make the mistake of letting them disappear without acknowledgement. After all, nothing lasts forever.

Listen to below and pick it up here.