Category: lyric video

Lyric Video: Rodes Rollins Releases a Boldly Self Assured Feminist Anthem

Over the past year or so, I wrote a bit about Rodes Rollins, a Boulder, CO-based singer/songwriter, who has had stints living abroad in Buenos Aires, Argentina and is now primarily based in New York. And as you may recall, Rollins first emerged into the national scene with “Young and Thriving,” the first single off her critically applauded debut EP Young Adult, an incredibly self-assured album that told the story of the artist’s most formative experiences of her youth in a sort of nostalgic yet wizened flashback — or in other words with the perspective of someone, who now sees how her decisions, both for better or for worse, planned or serendipitous have influenced where her life is at this very moment. 

“Nasty Woman,” Rollins’ latest single is a boldly self-assured, empowering, feminist anthem that according to Rollins centers on empowerment and pride, while focusing on  “. . . the multi-dimensionality of what it means to be a woman in society — being who you are, as you are; and being proud of that. This song is not presented from only my singular perspective, or through just one medium. The very point of what I’m trying to express is that being a woman shouldn’t be a restrictive identity, but rather a broad and inclusive one.” Interestingly, the song will further cement the up-and-coming singer/songwriter’s reputation for crafting infectious hook-laden pop but this time centered around a propulsive and bluesy guitar line and propulsive drumming from Portugal, The Man’s Kane Ritchotee — but while featuring deeply inclusive, intersectionally focused lyrics. 


Lyric Video: Portland’s Hemmit Captures Youthful Passion in “Friends”

Keith Fleming is a Portland, OR-based multi-instrumentalist, producer and singer/songwriter, who as a drummer, has had stints touring and recording with The Jonny Cohen Love Machine, John Stabb’s Weatherhead and and others, and for being one-half of highly acclaimed indie rock duo Hemmit, with his longtime collaborator, producer, engineer, songwriter and highly sought-after guitarist Adam Rohosy. Interestingly, Hemmit has had their music featured on MTV, Surfline, Bike TV and have received radio airplay from a number of radio stations across the world; in fact, their fifth album Straight Outta Nowhere saw heavy college radio airplay and attention from critics and fans. 

With the six-song EP One Ultra, the long-awaited follow up to their buzz worthy fifth, full-length album, Hemmit has become a solo recording project featuring Keith Fleming, and the EP reportedly consists of indie rock and guitar pop that blends elements of lo-fi garage rock, power pop and 80s synth rock, largely influenced by Ty Segall, Best Coast, Guided by Voices and Sloan; however, the EP’s first single “Friends” sounds as though Fleming was drawing from 90s alt rock — in particular My Vitriol, Blur, Foo Fighters and others, as the song is centered around enormous power chords, a guitar pyrotechnic-fueled solo, thunderous drumming and a rousingly anthemic, arena rock friendly hook. And while swaggering and self-assured, the song is a breakneck, swooning, “you-were-there”-like recollection of youth and youthful passions 

The recently released lyric video for “Friends” is essentially a time capsule, featuring found footage of young people over the course of the past 30 years or so, being young and seemingly carefree. 

New Audio/Lyric Video: Dusted Releases a Jangling and Anthemic New Single

Brian Borcherdt is best known as a founding member of the renowned, Toronto, Ontario, Canada-based electronic act Holy Fuck, as well as Toronto-based indie, All-Star supergroup LIDS, which features Constantines’ Doug MacGregor and METZ’s Alex Edkins, and while he’s spent the bulk of his career writing and recording unhinged dance music, behind the scenes, he had spent his time writing material that went in a decidedly different direction from his primary band — lo-fi, garage pop, which eventually became his solo recording project Dusted. And with Dusted’s critically applauded 2012 full-length debut, Total Dust, Borchedt opened for the likes of Great Lake Swimmers, Perfume Genius and JOVM mainstays A Place to Bury Strangers, as well as a cameo in Jean Marc Vallee’s 2014 film Wild.

Dusted’s sophomore effort, Blackout Summer is slated for an April 6, 2018 release through Polyvinyl Records and while the album’s latest single “Backwoods Ritual” will further cement the project’s growing reputation for jangling and anthemic, lo-fi, garage pop with fuzzy melodies, the deceptively upbeat track actually possesses a bittersweet wistfulness over things that have passed and are just out of grasp.

Lyric Video: Introducing the Trippy and Ethereal Sounds of Los Angeles’ Western Scene

Featuring founding member and primary songwriter Tom Pritchard with a rotating cast of collaborators and friends, the Los Angeles, CA-based indie rock/indie pop act Western Scene received attention regionally with the 2013 release of their debut effort Listening. Since then, Pritchard and company have been writing and recording material in bedrooms and studios on both coasts including 2014’s “See What You Want To,” a track that received attention regionally and across the blogosphere; in fact, “See What You Want To” received airplay on radio stations across Southern California and was featured in several films and TV shows. 

“Going Back” Western Scene’s latest single is a dreamy song that employs the use of a mid-tempo yet driving groove atmospheric synths, a shimmering guitar line and Pritchard’s breathy, falsetto crooning paired with a soaring hook but oddly enough the song is under-pinned by a sense of uneasy and frustrated triumph. Interestingly, the song manages to sound as though it drew from OK Computer and Kid A-era Radiohead and Primal Scream but with a trippy, cosmic glow. 

Created by Emily Wilder, the recently released lyric video is comprised of images from Google Street View to emphasize the feeling of travel and movement towards a destination. 

Lyric Video: The Legends’ Boom Box Rocking Single “In Love With Myself”

Although Johan Angergård may be best known as a member of renowned Swedish electro pop acts Djustin, Club 8 and Acid House Kings, and the head of Stockholm, Sweden-based electro pop label Labrador Records, he’s also had an accomplished solo career, releasing several albums as The Legends — including 2009’s noise pop-leaning self-titled effort and 2015’s It’s Love, which featured lead single “Keep Him.” Now, if you’ve been frequenting this site for some time, you may recall that last year wound up being a rather prolific and busy year for Angergård as Djustin and Club 8 released long-awaited albums, and he released two original singles as The Legends, “Cocaine” feat. Maria Usbeck, “Summer In The City (Living Is For Somebody Else)” and a cover of The Chainsmokers smash-hit “Roses” feat. Rozes — and interestingly those three tracks wound up reflecting a change in sonic direction for him, as he developed a decidedly swaggering, neon-colored, retro-futuristic sound that nods at early 80s Giorgio Moroder, Computerworld-era Kraftwerk, early house and Holy Ghost!’s Crime Cutz as heavily vocoder-processed vocals are paired with tweeter and woofer rocking 808s, processed cowbell and layers of arpeggio synths as you would have heard on the cocksure “Cash” off his soon-to-be released The Legends album Nightshift.

Nightshift’s latest single “In Love With Myself” features guest vocals from Elin Berlin and while continuing with the swaggering, cocksure vibe of its preceding singles while arguably being the most straightforward, dance floor friendly song off the album, as Berlin and Angergård’s breathily cooed vocals float over a slick, retro-futuristic production consisting of shimmering synths, stuttering drum programming, and boom bap beats. In some way, the song sounds as though it were subtly modern take on the boom box rocking sound of the 80s.

Lyric Video: Amber Arcade’s Psychedelic Leaning Visuals for “It Changes”

With the release of her 2016 debut, Fading Light, Dutch singer/songwriter and musician Annelotte de Graaf quickly received international attention for her solo recording project Amber Arcades, a project that thematically drew from a variety of esoteric and familiar subjects — time and the relativistic experience of it, jet leg and her own dreams; in fact, following her own dreams has informed much of the Dutch singer/songwriter’s personal and creative life. Because she had always dreamt of working for the UN, de Graaf worked her way into a position as a legal aide on a UN war crime tribunal and human rights law, assisting Syrian refugees. She also used her life savings for a flight to NYC and studio time to record her debut with Ben Greenberg, who has worked with The Men, Beach Fossils and Destruction Unit, and a studio backing band that included Quilt’s Shane Butler (guitar) and Keven Lareau (bass) and Real Esate’s Jackson Pollis (drums).

Building upon the buzz that she received for Fading Lines and a Fall 2016 tour with renowned indie rock act Nada Surf, de Graaf will be releasing her debut’s highly-anticipated follow up Cannonball on June 2, 2017 and the EP will include the propulsive “It Changes,” a single that reveals a decided change in sonic direction for the Dutch singer/songwriter, as the song manages to sound as though it draws from post-punk and garage rock, thanks in part to angular guitar chords played through effects pedals and an anthemic hook paired with de Graaf’s crooning. As de Graaf explains in press notes, the song is ultimately about life’s temporal nature. “Everything changes, all the time,” de Graaf says in press notes. “You think that when starting something new you can kinda tell which way it will go, but you never do. I always try to aim for constancy and stability but things always get messier than I foresaw. And hey, maybe that’s actually what makes it worthwhile.” As a result, while the song possesses a hopeful yet realistic take on life; suggesting that the recognition of messiness and uncertainty being a part of life and something you can learn from.

Created by Ben Clarkson, the recently released lyric video features psychedelic-leaning animation depicting the passage of time superimposed over neon-treated negatives of a variety of imagery including a woman playing at the beach, the icy North Atlantic Ocean, spinning tops, couples holding hands and so on, along with bursts of the song’s lyrics. It emphasizes the song’s central theme while being a little mischievous.

Lyric Video: JOVM Mainstay White Reaper Returns with a New Wave-Leaning Anthemic Single


With the release of their blistering and urgent, self-titled EP, the Louisville, KY-based quartet White Reaper quickly received national attention — and after a number of tours with nationally renowned acts like Deerhoof, Young Widows, Priests and others, the quartet built upon the early buzz they received by recording and releasing their hook-laden, breakneck, full-length effort White Reaper Does It Again, which Polyvinyl Records released to critical praise two years ago. After touring to support their critically praised full-length debut, the band seemed disappeared for a bit; however as it turns out, the band had gone into the studio to write and record the material that would comprise their highly-anticipated, forthcoming sophomore effort The World’s Best American Band, which Polyvinyl Records on April 7, 2017. And from the album’s first single “Judy French,” the single reveals a decided change in sonic direction as the song leans heavily towards New Wave and prog rock — to my ears, the song reminds me quite a bit of The Cars “You Might Think” and Moving Pictures-era Rush; but with a garage punk sneer. Interestingly, the band has retained their ability to craft tight and anthemic hooks paired with earnest, swooning sentiment.

Lyric Video: The Moody and Anthemic Post Pop Sound of London’s Keroscene

With the release of “I Can’t Do A Thing,” and several other singles, the London-based post-punk/indie rock quartet Keroscene — comprised of David Troster, Edd Wilding, Francesco Bond, and Jake Sorbie — received praise from the likes of Q Magazine and have had material land on Spotify’s Hot New Bands and Fresh Finds: Six Strings playlists for an ethereal yet brooding sound that draws from post-punk, shoegaze and Brit Pop; however, the quartet’s latest single “Feel Like The First Time” possesses a much darker, moodier feel as the song beings with tribal drumming-based slow-burning, lurching and atmospheric dirge, layers of slashing and shimmering guitar chords before picking up the pace with four-on-the-floor drumming for the song’s anthemic and soaring hook. And it’s all held together by a propulsive groove.

As the members of the band explain in press notes “With all our modern distractions and the need to be constantly connected, people have grown uncomfortable with being by themselves, alone in silence. We may all belong to our society and feel the need to connect with others but ultimately, you will leave just as you came in; by yourself.” And as a result, the song suggests a couple of things — that loneliness is a part of human life; and that accepting it and being content with it is critical to achieving true understanding and contentedness. Interestingly, the recently released lyric video is carefully and deliberately opaque, suggesting our smallness, loneliness and vulnerability in the face of a cruel and indifferent universe.

New Video: JOVM Mainstays Boogarins Return with Hallucinatory and Abrasive Visuals for Their Boundary-Pushing New Single

During a rather busy bit of international touring the Latin Grammy-nominated act, Boogarins, holed up in house near Austin, TX’s SPACE Studios for most of the summer, and they spent their time writing and recording new material in between a several weeks- long Austin club residency. the band’s latest single “Elogio a Instituição do Cinismo” (translated into English, the title is “Praise the Institution of Cynicism”)is a decided sonic departure as the band incorporates the use of thumping beats and breakbeats, swirling and whirling electronics, abrasive and buzzing guitars to create a malevolent and angrily brewing storm of sound that’s paired with vocals that manage to be both dreamily placid yet pissed off. While being hallucinatory, the song manages to be a rowdy, furious almost dance floor-like stomp, revealing a band that’s readily and aggressively pushing psych rock and Brazilian rock into strange, yet excitingly new directions.

Filmed and edited by Victor Souza and featuring collages by Beatriz Perini, the recently released lyric and subtitled video emphasizes the bitter, vitriol-fueled critique of society at the heart of the song, suggesting that society encourages people to be deceptive and allows people to be used as means for more ends in themselves. The collages help emphasize the song’s whirling malevolent storm.

Lyric Video: Port Townshend, WA’s Solvents Release a Politically Charged Anthem for the Holiday Season

During this shortened workweek at my day job, several coworkers had mentioned how they were feeling deeply unsettled and anxious about being around family members and associates who had voted for Donald Trump — and knowing that by their family’s support and votes, that their family actually seemed to hate them and everything they represented. Comprised of husband and wife duo Jarrod Paul Bramson and Emily Maddon, the Port Townsend, WA-based duo Solvents quickly wrote their latest single “Song For President Trump (I’m Gonna Fight)” as a way to inspire as many folks as possible to pick up an instrument, to write poetry, blog posts, take to the streets or open up a conversation, and that most important to put your feelings out there on how repugnant and frightening a Donald Trump administration is and will be for so many. If you have some asshole “family” to deal with this weekend, know that The Joy of Violent Movement is by your side and let this song be the theme song of your entire holiday season as you tell people to go fuck themselves.