New Video: The Playfully Childlike and Psychedelic Visuals for Winter’s “Dreaming”

As a newly formed quartet, the members of the band went into the studio to write and record their full-length debut Supreme Blue Dream, which Lolipop Records released last year. With material written and sung in both English and Brazilian Portuguese, the album thematically was designed to connect the listener to their inner child while writing shimmering and ethereal pop that interestingly enough sounds as though it could have been released by 4AD Records. The band is currently working on their forthcoming sophomore effort Ethereality — but interestingly enough, the album’s latest single “Dreaming” was originally written back in 2013 and was presumed lost when the band’s laptop was stolen while on tour. However, through a bit of coincidence and fate, the band found a version of the song on a backup hard drive — and interestingly enough, the single will further cement the band’s growing reputation for craft shimmering and ethereal shoegaze-leaning pop that manages to evoke the sensation of being awoken from a pleasant reverie.

Developed by Samara Winter and directed by Kevin Kearney, the 90s psych rock/alt rock-inspired video depicts Winter on the beach, connecting with her inner child as she plays on the beach, daydreams and bathes in a tub while being shot in neon bright filters and colors schemes.

New Audio: Turkish JOVM Mainstays The Away Days Return With Their Most Politically Charged Single to Date

Now, over the past couple of years, the Turkish indie rock quartet have released a series of singles that have that have seen international attention across the blogosphere, including this site where the band has added their name to a growing list of mainstay artists. Up until recently, it had been about a year since we had last heard from the renowned Istanbul-based quartet; but as it turns out, the band had been busy working on the material, which will comprise their highly-anticipated full-length debut effort. The album’s first two singles “Less Is More” and “World Horizon” were atmospheric yet lush tracks in which plaintive vocals were paired with ethereal and shimmering synths — while drawing from the band members’ lives as musicians in a society in which their efforts are viewed suspicious and seditious.

“Places to Go,” the third and latest single off the band’s forthcoming full-length debut is a lush and plaintive song featuring layers of shimmering guitar, a tight motorik-like groove and a soaring, anthemic hook — and in some way it makes the song sound as though it were inspired by classic shoegaze and contemporary pop and indie rock; however, the song manages to possess a deeply held tension as lyrically, the band draws from their lives and the lives of Turkish young people as the song touches upon the sense of frustration, boredom, oppression and conformity, lack of opportunity and their overall restlessness.

Initially comprised of founding member Al Jourgensen (vocals and guitar), Stephen George (drums), Robert Roberts (keys) and John Davis (keys), the renowned and influential Chicago, IL-based industrial metal/industrial electronic act Ministry began as a New Wave synth pop act that released several 12 inch singles through Wax Trax! Records between 1981-1984. And after a series of lineup changes that included a deeper focus on the band’s founding duo of Jourgensen and George, and a radical change in sonic direction that lead to the aggressive and abrasive sound that later inspired the likes of Marilyn Manson, Nine Inch Nails ,KMFDM and others.

This Friday will mark the limited release of the long-awaited Trax! Rarities double album featuring rare, early tracks and versions of songs from Wax Trax! Records-era Ministry and unreleased material from Al Jourgensen’s related side projects including Revolting Cocks, PTP, Pailhead and 1000 Homo DJs through Cleopatra Records. And we’ve got three tracks from the Trax! Rarities collection — the A Flock of Seagulls meets Roxy Music-like demo version of “The Game Is Over,” which reveals that even with a completely different sound that Jourgensen, his late bandmate George and company had an uncanny ability to write an incredibly anthemic hook paired with shimmering guitars and a propulsive groove;  the mid 80s New Order and Depeche Mode-nodding “I See Red,” which is not only a dance-floor friendly song but manages to be a more conscious move towards something resembling industrial electronic music; and lastly, “Same Old Madness,” which strangely enough, bears an uncanny resemblance to Freedom of Choice-era DEVO. Of course, while the compilation will be a must have for die-hard fans and completetists, it’s a revealing look into how a band’s sound and aesthetic can morph from making them a mere footnote of a particular time into one of the more influential bands of their generation.






New Video: The Hallucinatory Visuals for Beat Escape’s “Seeing Is Forgetting”

Although they’ve cloaked themselves in varying degrees of mystery, the Montreal-based DJ and production duo Beat Escape have received attention across the blogosphere for a moodily atmospheric sound consisting of cascading layers of shimmering synths, swirling electronics, shimmering guitar chords and ethereal vocals paired with a propulsive, motorik-like groove as you’ll hear on “Seeing Is Forgetting.” And while evoking waking from a particularly vivid dream, in which reality and your dreams are hopelessly blurred, the song also manages to draw from 80s synth pop and contemporary dream pop simultaneously.

Created and directed by Sabrina Ratte, a video artist, who creates virtual environments using analog technologies, the video possesses a hallucinatory feel that’s punctuated by bursts of static. As Ratte explains in press notes “. . . the video was created using analog video tools and techniques, mixed with digital textures and 3D architectures. While depicting hallucinated landscapes, illuminated by electrical discharges, the timeless abstract environments undergo a metamorphosis, evolving in sync with the song’s hypnotic energy.”

Team Picture is a Leeds, UK-based indie rock quintet, who have started to receive attention from the likes of major blogs such as DIY Mag and The Line of Best Fit. And adding to a growing national profile, the band has opened for Kagoule and The Orielles and others.  The band’s third and latest single “Potpourri Headache” will further cement the Leeds-based quintet’s reputation for crafting lush and shimmering, shoegaze-leaning indie rock in which the band pairs ethereal vocals with propulsive drumming, shimmering guitar chords played through effects pedals, and equally ethereal synthesizers. In some way, the band’s sound manages to channel both the classic 4AD Records sound and A Storm in Heaven-era The Verve.



New Video: JOVM Mainstays Atmosphere Return With A Profound and Heartbreaking Statement on Life and Love

Fishing Blues’ latest single “A Long Hello” will further cement the duo’s burgeoning reputation for crafting incredibly insightful, mature and soulful hip-hop — and in this case, the single focuses on the difficulties and awkwardness of love and its inevitably ending; life’s letting and impermanent nature; how both love and life are filtered through one’s insecurities; and lastly, how the song, like the bulk of their material is inspired by hard-fought, heartbreaking experience and personal wisdom. Sonically speaking, the song has Slug rhyming over a looped shuffling and bluesy, guitar sample and boom bap beat; but on a certain level, the song manages to evoke the older friend, who spits knowledge to you while over beers at a local bar or while on your stoop.

Adding to a rather successful and busy year, the duo will be releasing a limited edition seven record box set Frida Kahlo vs. Ezra Pound on December 9, 2016, which will feature guest appearances by Aesop Rock, Blueprint, Grieves, Prof and deM atlas. But before that the recently released music video for “A Long Hello” features the duo driving up to a lonely beach before Slug get out the car, gets a cardboard cutout and starts walking to the beach, inching his way to the ocean. The visuals become increasingly cinematic as the camera pans out, emphasizing the lonely heartache within the song.

Live Footage: Yasiin Bey Returns for His First Stateside Performance in 5 Years

Last month the great poet, singer/songwriter and actor Saul Williams presented a Boiler Room Session dedicated to lyricism and spoken word in London, which the good folks at Okayplayer presented last month. The set up of the evening was deeply influenced by Def Poetry Jam with the show being split in two distinct parts –the first being artists (emcees, poets, spoken word artists, etc.) sharing their favorite and/or brand new verses and poetry in a theater-like environment and the second half of the night had the same artists taking part in a large cypher, backed by a DJ. Williams along with Aja Monet recently brought the carefully curated Boiler Room In Appreciation of Lyricism session to Miami for Art Basel and while having an incredibly diverse list of artists performing — from including Allan Kingdom, a Kanye West collaborator; Wifisfuneral, a trap hop artist, Melo-X and a ton of local talents; however, the biggest highlight of the session was Yasiin Bey (he’s still Mos Def to me) making his first Stateside appearance in over 5 years, performing completely new material, including a new piece “No Time to Pretend,” which he performed acapella in front of an awed and completely surprised audience.

New Video: New JOVM Mainstays Pavo Pavo Release a Surreal and Old-Timey Video for “Ruby (Let’s Buy the Bike)”

Now, as you may recall the band’s highly-anticipated full-length debut, Young Narrator in the Breakers was released last month through Bella Union Records and thematically, the material according to the members of the band describes both the magic and panic of adult life — with the understanding that much like a getting caught in a vicious breaker, you have to stop fighting and ride it out until you can get to shore safely. Interestingly, the album’s latest single “Ruby (Let’s Buy The Bike)” consists of gorgeous falsetto boy/girl harmonies, a strummed and slightly ragged guitar-led melody, off-kilter percussion and soaring synths. And the result is a gorgeous and trippy acceptance of time’s passing and a swooning love song to a beautiful motorcycle named Ruby. Part of the song involves the hopes and plans the narrator has for the bike; some of which picturing himself riding around on the badass bike, potentially getting into a gruesome accident and dying — but saying “man, for the bike, it was fucking worth it.”

The video was shot, directed, produced and edited by the members of the band and as the band’s Oliver Hill explains in press notes about the video “Pavo Pavo’s Oliver Hill talks about the video, saying “There’s a great Kenneth Anger documentary about a biker gang called Scorpio Rising that peers into all the death-obsessed symbology in these gangs, and the whole bizarre environment piqued my interest. For the video we went up to Pleasantville, NY, which is both me and Ian [Romer]’s hometown, and tried to make something that captured that special type of suburban-high-school boredom where groups of friends rove around and try to find little adventures – a sort of reimagined biker gang. We directed it ourselves and shot it on Super 8, which has such a beautiful and cool character – so in a way the whole enterprise was a bit like a group of high school friends, making something on a spare Saturday.”