Category: lyric video

Lyric Video: Montreal-based Pop Artist Thaïs Releases an Ethereal and Shimmering New Single

Thaïs is an emerging Montreal-based singer/songwriter, who specializes in an atmospheric and delicate pop centered around the French Canadian singer/songwriter’s ethereal vocals. Thematically her work focuses on melancholy, loneliness and dysfunctional and confusing love.

“Boréal,” the Montreal-based artist’s latest single finds her further establishing her sound as you’ll hear shimmering synths, thumping beats, warm blasts of looping electric guitar, a soaring hook and Thaïs’ ethereal and plaintive vocals, wobbling low end and skittering beats. Interestingly, the song was inspired by a trip that the French Canadian artist took to Iceland — and as a result, the song evokes the awe-inspiring sense of being in gorgeous, natural spaces, and taking it all deep into your soul. 

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Lyric Video: French Electro Pop Duo Ninety’s Story Returns with an Atmospheric, R&B Inspired Single

Tracing their origins back to when its members — Guillaume Adamo and Florian Deyz — met in grade school, the Nice, France-based indie pop duo Ninety’s Story have developed a warm, sophisticated and sensual music inspired by the French Riviera and the likes of Phoenix, Daft Punk and Air. The duo released their debut single “KIKUKYU” and their debut EP through Kitsuné Musique in 2017. Adding to a growing profile, the Nice-based duo have opened for Archive, Morcheeba, Pale Waves and Puggy among others.

Additionally, the duo wrote the music for Citroën C4 Aircross ad campaign that aired in China —  with the band representing the company at the Paris and Hangzhou Motor Shows. Now, if you’ve been frequenting this site, you may recall that I wrote about the rising French duo’s acoustic rendition of the breezy yet anthemic “APO.” The French electronic duo return with the sultry R&B-influenced “Home.” Centered around skittering trap and boom bap beats, atmospheric synths, expressive and bluesy bursts of guitar, fuzzy bass synth, plaintive vocals, a soaring hook and an enormous drop “Home” may remind some listeners of JOVM mainstays Beacon, as well as Montreal’s Seoul and Detroit-based JOVM mainstays Gosh Pith. “The song was composed, produced and recorded in Brussels during the quarantine period,” the rising French duo explain. “Everything was quiet outside and put us into a very inspiring [sic] mood, different than usual.”

Directed by Victor Rahman, the recently released, cinematically shot lyric video features the rising French duo rocking out to the song during a gorgeous purple-red sunset. “For the video, we drove across Belgium and just stop [sic] in a  spot were [sic] the sunset and the sea were beautiful. We just put the music [on] very loud and enjoyed the vibe in front of the camera,” the duo says. 

Lyric Video: JOVM Mainstay Nana Adjoa Releases a Forward-Thinking Yet Accessible New Single

Over the past couple of years, I’ve written quite a bit about the rising Amsterdam-born and-based Ghanian-Dutch singer/songwriter  Nana Adjoa — and as you may recall, with the release of her debut effort Down at the Root, Part 1, the Ghanian-Dutch singer/songwriter began to receive attention across the European Union for an easy-going, 70s singer/songwriter soul sound reminiscent of Bill Withers and others. 

Adjoa can trace the origins of her professional career back to when she was accepted at the prestigious Amsterdam Conservatory, where she studied jazz — electric bass and double bass; however, however, she found the experience wasn’t what she imagined it to be. “It was very much like school,” she says in press notes. “We thought we wanted to go to the most difficult department, that we wanted to be the best, but it wasn’t a very fun experience.”

Interestingly, around the same time, Adjoa bean to experience a growing divide between the restrictive and theoretical compositions she was studying in school and the melodic, free-flowing music she’d play while jamming with friends, outside of school.  She quickly realized that pursuing a solo career was the best direction for her, so she recruited local musicians and started recording her own material. 

Since the release of Down at the Root, Part 1 and Down at the Root, Part 2, Adjoa has developed a reputation for being a restless sonic explorer, who crafts material centered around deft poeticism and an adventurous yet accessible sense of musicianship. The JOVM mainstay’s highly-anticipated full-length debut is slated for release this fall. The forthcoming album’s second and latest single “Throw Stones” features shimmering and looping guitar figure, metronomic-like drumming, brief blasts of handclaps and fluttering flute  and fuzzy synth arpeggios and a brooding string arrangement paired with Adjoa’s plaintive vocals — and it’s all held together with an infectious hook. And while the song manages to be radio friendly, the song is much murkier under its surface, as its narrator is trying to calm a rumbling anxiousness. 

“This song is about me calming myself down in difficult times. To feel, regroup, and reflect,” Adjoa says in press notes. “If you need that right now, to feel it to embrace it and slowly heal, you can listen to this song and count to 10. You don’t always have to be ‘on’, you are allowed to take time, to rest and come back feeling refreshed, better and stronger. I hope this song gives you pause, time to breathe.”

Lyric Video: Beat Hotel Returns with a Swooning and Heartfelt Power Pop Anthem

Split between Brighton, UK and Plymouth, UK,  Beat Hotel, which features current and former members of The June Brides, The Loft, The Weather Prophets, Distractions, Mudlow, Mojo Fins and Lolita Storm can trace its origins to when its founding members — The June Brides’, The Distractions’ and The Granite Shore‘s Arash Torabi and Paul Pascoe met after a 1988 The Jasmine Minks show.  (Interestingly, many years later, the first Beat Hotel single featured a guest vocal spot from The Jasmine Minks’ frontman Jim Shepherd.)

Developing a strong live presence in their local scene, the act managed to record a number of demos,  but they didn’t officially release anything until 2013 — the “Best of Our Years”/”The Fire,” double A-side 7 inch, which featured The Loft’s and The Weather Prophets’ Dave Morgan (drums), who then became a permanent member of the band.

Released earlier this year through Occultation Records, the band’s long-awaited self-titled EP was recorded at Hove, UK-based Church Road Studios by the band’s Paul Pascoe and features five originals written by Pascoe and a cover of The Wishing Stones‘ “Beat Girl.” The EP also features guest spots from The June Brides’ Frank Sweeney, who contributes strings and piano and former Mojo Fins member Stephen Brett (guitar), who releases material as a solo artist under the moniker SJ Brett. “Every now and again, we produce something that’s very special to us. These forays into the physical world are usually inspired by a collaboration,” Beat Hotel’s Paul Pascoe says in press notes about the band’s self-titled EP. “This time it was driven by an unexpected creative surge due to the sudden and shocking end of a relationship. I felt like I had to relearn everything about how to be in the world and look seriously at who I actually am. I found comfort in the music that had given me a sense of belonging the first time around. The Jesus & Mary Chain, Echo & The Bunnymen, The Weather Prophets .  .  .these songs and songwriters, so familiar to my psyche, were there again to drag me to safety.”

“This collection of songs is about love and near-death and confronting the very worst aspects of ourselves, facing down those inner demons, the fears that haunt us and our deepest, darkest secrets,” Pascoe says of the EP’s material. “And… with one of the tracks beginning its recording journey in 1997 and getting its final guitar overdub and mix in 2019 (in all its 3 minutes 14 seconds of rock’n’roll glory), this record is also a tribute to the awesome power of getting shit done.”

Earlier this year,  wrote about “Bury It Deep,” an upbeat, hook-driven song that brings Starfish-era The Church, early-to-mid 80s Echo and the Bunnymen (i.e, Crocodiles, Heaven Up Here and Ocean Rain) and The Dream Syndicate to mind — and while possessing an uncanny period specificity, the song is more than a homage to a classic and beloved sound: at its core, the song is centered around a narrator desperately trying to maneuver a confusing and uncertain world, as well as their own demons. The EP’s latest single “Feel It” continues a run of hook-driven, 80s inspired material — but in this case, the track is a jangling power pop anthem that brings The Smithereens, The Sighs, and others to mind. But interestingly, the song is a heartfelt love song that evokes the swooning urgency of newfound love in a way that should remind you of your first love. 

Lyric Video: Seattle’s The Unfit Return with a Feral Howl into the Void

Formed back in 2012, the Seattle-based punk act The Unfit — longtime friends and grizzled Seattle scene veterans Jake Knuth, Michael Lee, T.J. Johnson and Tyler Johnson — have a history of sporadic recording sessions and scattered postings of tracks online. But after a decade of being together, the members of the Seattle-based punk quartet will finally be releasing their self-titled, full-length debut on June 5, 2020 through Share It Music. 

The Unfit’s full-length debut finds the band firmly establishing their sound, a sound that draws from ’80s and ’90s punk, grunge and indie rock in a way that’s forceful and extremely loud. Thematically, the album touches upon finding meaning, belonging and honesty in a bleak and unrelenting hells cape, where those things are difficult to find — and figuring out a way to cope with the lack thereof.  Interestingly, the material is underpinned by the sentiment that in our morally bankrupt world, the survival of the fittest is tilted towards those with the greatest capacity for dishonesty, grift, shamelessness and zealous self-interest, and that one can perhaps take pride in finding belonging as one of the proverbial unfit. 

Last month, I wrote about the album’s feral and furious ripper “Caged Rats and Hamster Wheels,” a mosh pit friendly song and incisive criticism of the capitalist rat race that was seemingly fueled by the desperate urgency of our moment. “The Picture,” the Seattle-based act’s latest single further establishes the band’s for crafting feral and cathartic rippers — but in this case, “The Picture” may be the most desperate song of the album released to date: it’s an a power chord-driven howl into an unceasing and indifferent void. 

“It’s about the terror and sadness that overcomes me when I think about the fact that my memory is me and that my memory is limited and impermanent – and everything that I am and every moment, however profound, however beautiful, will go away and, for all anyone knows or cares, ultimately might as well never have existed,'” the band’s Jake Knuth explains in press notes. “The song is also a sort of way of grieving for me – over the loss of youth, loss of partners and loved ones, loss of various parts of me and my life that I will never get back. I want to preserve and remember these things, these profound moments and feelings, but it will all ultimately fade away.  

Lyric Video: Gateway Drugs Releases a Shimmering and Heartbreaking Ballad

Formed in 2010, the rising Los Angeles-based act Gateway Drugs — siblings Gabe, Noa and Liv Niles, who all share vocal and instrumental duties, and their longtime friend James Sanderson (bass) — emerged into the psych rock scene with the 2015 release of their full-length debut, Magick Spells, an album that helped to establish their noisey and melodic take on shoegaze that Hellbound has likened to “The Stooges meets My Bloody Valentine and The Brian Jonestown Massacre — a little dark, a little eerie and a little grainy and all intoxicating.”

Slated for a May 8, 2020 release through Future Shock Records, the Los Angeles-based psych rock quartet’s, ten song, Sune Rose Wagner-produced sophomore effort PSA was recorded during a 12 day recording session at Josh Homme’s Pink Duck Studio. Centered around what the band says was some of the quickest and most direct songwriting process of their young careers, the album as the band told Foxes Mag “. . . is much more intimate and raw than our first album. All of the songs were recorded live for the most part.”

While further establishing their noisy and melodic take on psych rock, the material reportedly finds the band writing more introspective material, drawing from a wild and chaotic few years for the band — and for the world at large. According to the members of Gateway Drugs, the album reflects “everything that is wrong in the here and now: the weakness of the world laid bare, and the almost total state of apathy we all find ourselves in due to feeling powerless to effect any change with respect to all of this. PSA is an attempt to connect with others, who feel the same way and regain a sense of our ability to change things for the better.”

Now, as you may recall, last week, I wrote about, the brooding and hook-driven  “Slumber,” PSA’s second single, a track that reminded me a bit of the aforementioned Brian Jonestown Massacre, Riot City Blues-era Primal Scream, while being an earnest reflection on unrequited love that focused on the rejection and heartbreak of a jilted suitor. PSA’s third and latest single is the slow-burning ballad “I’m Always Around.” Centered around shimmering guitars, the song was written and sung by the band’s Liv Niles — and is essentially, a bitter and heartbreaking goodbye letter to a lover ad a relationship that seems bound to come to a close. 

“The song reflects my nostalgia at the time towards my relationship that was failing, my sadness knowing he would hate me one day for choosing myself over him,” the band’s Liv Niles explains in press notes. 

Lyric Video: Kalbells Featuring Rubblebucket’s Kalmia Traver Releases a Shimmering and Mesmerizing New Single

Best known for being the co-founder and frontwoman of the acclaimed JOVM mainstays Rubblebucket, the Brooklyn-based singer/songwriter, multi-instrumentalist and producer Kalmia Traver has stepped out on her own with her latest recording project Kalbells. The project’s latest EP, the  recently released Chrome Sparks and Traver co-produced Mothertime EP thematically navigates through themes of resilience, yielding, beckoning creativity, self-exploration and joy.  

“Mothertime,” the EP’s latest single and title track is an ethereal song centered around layers of glistening synths, stuttering beats, handclaps, and Traver’s achingly plaintive vocals the ethereal and mesmerizing track subtly recalls her work with Rubblebucket — but while possessing a surreal and mesmerizing quality reminiscent of Radiohead’s Kid A. 

Directed, shot and produced by Kalmia Traver, the recently released lyric video is a college art-styled visual that stars Anthony The Celebrity Ant, who according to Traver “was a diva to work with but onscreen, he pulled 1000x his weight in emotion.” 

Kalbells will be embarking on their first headlining tour this fall — pandemic willing –with support from Lily and Horn Horse, Bernice, and Ohmme, and the tour will include an October 16, 2020 hometown show at The Sultan Room. 

Lyric Video: Dive Index Teams Up with Daughter Darling’s Natalie Walker on a Minimalist and Meditative Song

Will Thomas is a Los Angeles-based composer and electronic music producer best known as the creative mastermind behind the collaborative recording project Dive Index, the minimalist solo recording project Plumbline with which he has released several albums, including two collaborations with ambient music composer Roger Eno. Thomas has also composed scores for film, modern dance pieces and has developed sound installations. 

Thomas’ fifth Dive Index album Waving at Airplanes is slated for a May 29, 2020 release through Neutral Music. Deriving its title from the overly optimistic and childlike act of seeking the fleeting attention of passing strangers for the sake of sheer connection, the forthcoming album will continue Thomas’ long-held thematic interest in exploring both the human condition and the condition of humanity — while also touching upon missed connections, artificial intelligence, contentment, the beauty of the desert and our uncertain political climate. Interestingly, the album continues his ongoing collaboration with Daughter Darling’s Natalie Walker and critically acclaimed English multi-instrumentalist Merz.

The album’s material reportedly finds Thomas setting specific parameters to the material’s overall sound and construction, souring almost everything, including percussion from modular synthesizer with the exception of some piano, acoustic guitar and occasional extraneous sounds — a nail gun and jackhammer — that leaked into the studio and were embraced into the songs. 

Waving at Airplanes’ latest single is the atmospheric and cinematic “Window to Window.” Centered around Natalie Walker’s gorgeous and achingly expressive vocals, twinkling keys, shimmering synths and thumping low-end, is visceral and intimate, and full of regret over lost moments, missed and blown opportunities, passing time and getting older  — and manages to recall Portishead and Tales of Us-era Goldfrapp. 

Lyric Video: Mexico’s Glass Cristina Releases a Mesmerizing New Single

Led by founding members Bernardo Castilla and Lorenzo Engell, the rapidly rising Mexican electro pop act Glass Cristina was formed in Barcelona in 2016. Their five song, debut EP Circle Line, which featured attention grabbing singles like “La Reina De España” and “Dancing With the Devil” received attention in their native Mexico and elsewhere — despite the fact the material was unmastered and mixed at home, because the duo couldn’t afford to pay for professional mixing. But their debut EP established their sound: lush and atmospheric textures paired with soulful melodies while drawing from neo-sou, funk and electro pop. 

The band was on a hiatus when its founding members were living in different countries but in 2017, the band reconvened and expanded with the addition of Enzo Aquino (bass, synths, backing vocals), who has helped the band achieve a more organic live set. Last year the band performed at Sziget Festival with the likes of The 1975, Jungle, Twenty One Pilots, Foo Fighters and others. Along with that, the trio have been busy writing and recording their forthcoming album Nudity, Slated for a May 22, 2020 release through Vegan Caníbal Records, an imprint of Blanco y Negro, one of Spain’s most successful indie record labels.  Reportedly, the album is a result of a period of profound self-discovery through incessant work and composition — while showcasing the trio’s dedication to evolving their sound and identity. 

Nudity’s latest single, “Bali” is an atmospheric yet club friendly song centered around shimmering synths, blasts of Nile Rodgers-like guitar, a sinuous bass line, tweeter and woofer rocking beats an an enormous hook — and while arguably being one of the most hypnotic tracks on the album, it possesses a subtle jungle vibe that reminds me of early Doomsquad and others.  Interestingly, the song is a brooding ode to heartbreak and betrayal as the song essentially sets up a story about the swooning first pangs of a new relationship and its inevitable accompanying heartache. But instead of wallowing too deeply in bitterness, the song is meant to inspire the listener to get up and to dance, dance, dance it all away. 

The recently released and incredibly cinematic lyric video for “Bali” is fittingly set on Bali and features two masked figures dancing seductively in lush and verdant forests — and the result is something truly mesmerizing, 

Lyric Video: Stockholm’s I Break Horses Releases a Shimmering and Cinematic New Single

Led by frontwoman Maria Linden and featuring Fredrik Balak, the Stockholm-based indie act I Break Horses have released two critically applauded albums: 2011’s full-length debut Hearts received praise from Pitchfork, The Guardian, NME, The Independent and others for material that possessed luxurious grandeur and 2014’s Chiaroscuro, which found Linden crafting ambitious material with a cool, self-assuredness. Building upon a growing profile, Linden wound up touring with M83 and Sigur Ros– and U2 played “Winter Beats” before their stage entrance during 2018’s Experience + Innocence tour. 

Slated for a May 8, 2020 release through Bella Union, I Break Horses’ long-awaited third album Warnings is reportedly centered around Linden’s desire to take the time to make something different — by crafting material with an emphasis on instrumental, cinematic music. As she watched a collection of her favorite films on her computer with the sound mute, she began to make her own soundtrack sketches, with those sketches gradually evolving into songs. “It wasn’t until I felt an urge to add vocals and lyrics,” says Lindén, “that I realized I was making a new I Break Horses album.”

Sonically, the album’s material is centered around lush and sumptuous soundscapes — dreamy mellotrons, haunting loops, analog synths and layered lyrics paired together to create an immersive, dramatic tension on multiple levels. “It’s not a political album,” says Lindén, “though it relates to the alarmist times we live in. Each song is a subtle warning of something not being quite right.”  Interestingly, the album’s creative process involved several different dramas on its own right: “It has been some time in the making. About six years, involving several studios, collaborations that didn’t work out, a crashed hard drive with about two years of work, writing new material again instead of trying to repair it. New studio recordings, erasing everything, then recording most of the album myself at home…” Linden says in press notes.

Warnings also finds Linden collaborating with producer and mixing engineer Chris Coady, who has worked with the likes of Beach House and TV on the Radio. But his experience and expertise with dense and cinematic sound wasn’t the only reason Linden recruited him to mix the album. “Before reaching out to Chris I read an interview where he said, ‘I like to slow things down. Almost every time I love the sound of something slowed down by half, but sometimes 500% you can get interesting shapes and textures.’ And I just knew he’d be the right person for this album.”

Adds Linden, “Nowadays, the attention span equals nothing when it comes to how most people consume music,” Lindén says. “And it feels like songs are getting shorter, more ‘efficient’. I felt an urge to go against that and create an album journey from start to finish that takes time and patience to listen to. Like, slow the fuck down!”

“Neon Lights,” Warnings’  third and latest single is a lush and cinematic track centered around shimmering synth arpeggios, a motorik groove, thumping beats, a rousingly anthemic hook and Linden’s plaintive and expressive vocals. And while recalling Trans Europe Express-era Kraftwerk and the Stranger Things soundtrack, the song has a much-needed we’re-in-this-together air. The track as Linden explains is “anthem for all of us who have ever felt like we didn’t fit in. It is trying to give a glimpse of hope to all outsiders who feel like they can’t find their way and to show the world that being a ‘misfit’ is a beautiful thing, not something to be pushed aside.”