New Video: The Dark and Moody Visuals for Sink Ya Teeth’s “Glass”

Maria Uzor and Gemma Cullingford are grizzled vets of Norwich, UK’s music scene, performing and recording in a number of projects before deciding to collaborate roughly two years ago in their latest recording project Sink Ya Teeth. And within a short period of time after their formation the duo of Uzor and Cullingford received national attention for a slick yet lovingly DIY electro pop that draws from 80s synth pop and early house music, as well as a broader range of influences — including Grace Jones, ESG, Nina Simone and Howlin’ Wolf.

Earlier this year, I wrote about the duo’s incredibly dance floor friendly single “If You See Me,” a single that featured Uzor and Cullingford’s coquettish crooning over a sultry and percussive synth pop production — and while on a superficial level, the song is about having way too much but as the duo explained in press notes, the song was written “the day after one of those really good nights that you probably shouldn’t have! It’s a song about feeling sorry for yourself but knowing that you can’t blame anyone else either.”

“Glass,” the Norwich duo’s latest single sonically speaking manages to nod at Giorgio Moroder‘s production work with Donna Summer, in particular, “I Feel Love” and “Love to Love You Baby,” and The Human League‘s “Don’t You Want Me,” as the song features a slick and propulsive production featuring layers of arpeggio synths and mathematically precise drum programming. And while arguably being among the chilliest singles they’ve released, the duo explains that the song “is about that moment when you realise you want to break from the routine and turn a corner in life.”

Directed by Doug Merton, the recently released music video featured the duo in a darkened car driving around. “We wanted to convey a feeling of a journey from light to dark,” the Norwich-based synth pop duo explains. Merton “transferred our idea into a literal journey, complete with light show to maintain that disco vibe that runs through the track. And I guess the twist at the end questions how easy it is or how willing we really are to change things.”

 

 

 

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