Category: New Video

New Video: Icelandic Indie Rock Act Mammut Releases a Brooding and Dramatic Video for “The Moon Will Never Turn On Me”

Comprised of Katrina Mogensen (vocalist), the daughter of Birgir Mogensen, who played alongside Björk in one of her first bands, Alexandra Baldursdóttir (guitar), Arnar Pétursson (guitar), Ása Dýradóttir (bass) and Andri Barter Jakobson (drums), the Icelandic indie rock quintet Mammut formed when its members were just 14 — and they derive their name from from the Icelandic word for “mammoth,” which the band’s Mogensen reportedly “plucked out of the air” before their stage debut.

In their native Iceland, the band is — well, rather huge. They won Iceland’s national battle of the bands, Músíktilraunir and subsequently have been nominated for several Icelandic Music Awards; in fact, their third album 2014’s Komdu til Mín Svarta Systir won three of its eight nominations including Pop & Rock Album and Pop and Rock Song for “Salt.” However, the band’s recently release effort Kinder Versions may arguably be their most ambitious to date, as the album finds Mogensen writing and singing lyrics completely in English for the first time in the band’s history. And with album single “The Moon Will Never Turn On Me,” you’ll quickly get a sense of why the band is so big in their homeland — they specialize in a brooding, highly dramatic and populist-leaning indie rock, complete with rousingly anthemic hooks. And while there’s clearly a viscerally earnest yearning and heartache at the core of the song, there’s an underlying sense of resignation that says “welp, things are going to be turbulent and shitty for a while, hold on as tight as you can.” Unsurprisingly as the band explains in press notes, the song is ultimately about the moment when you realize that you have to sit back, let go and then embrace and accept every horrible thing that may come in front of you — because in the larger scheme of things, it will be temporary,. and the world will continue to spin regardless. 

Directed by the band’s Katrína Mogensen, the recently released video is a fittingly moody one that features the members of the band struggling through a fitful and seemignly endless nightmare-fueled night of sleep — and interestingly enough, the video manages to further emphasize the sense of tumult at the core of the song. 

New Video: Travel the World with Up-and-Coming Ukrainian Indie Rock Act and New JOVM Mainstays Indytronics

Over the past couple of months, I’ve written a bit about the Kiev, Ukraine-based indie rock/post punk band Indytronics. And as you may recall, the band, which is comprised of founding members Danil Bogadenko (guitar, vocals) and Vitaliy Koutsiuk (bass) with Ruslan Dobrov (drums) and Denys Rybchenko (guitar, backing vocals) can trace their origins to when its founding members were traveling across Europe, and while in Stockholm, Sweden, the duo came across a number of street musicians, who were playing music with an interesting and very melodic indie the rock. According to the members of the band, its founding duo were so impressed by Stockholm’s street musicians that decided that they needed to start their own band when they returned home. 

Since the band’s formation in 2012, the band has released their 2013 debut EP Vision and their 2015 full-length debut Scintilla Wave and and as a result, they’ve developed a growing profile both nationally and internationally as they’ve made a number of live appearances on several Ukrainian TV shows and have received regular radio rotation on Ukrainian Radio Roks, Europa Plus, HotMix Radio, WCSF Radio German CTdasradio and others. Along with that, they’ve been written up in the British music magazine Huck and their music has been used for fashion shows aired on the international TV channel IDFashion throughout the US, Ukraine, Italy, Austria and France. 

While “Savannah Only Temple” was slickly produced indie rock that may remind listeners of  Narrow Stairs-era Death Cab for Cutie, The Postal Service’s Give Up and Snow Patrol, thanks in part to a rousingly arena friendly hook, its follow-up “Shark” found the band pushing their sound more towards electronic rock but with some of their most ambitious songwriting they’ve released to date. Their latest single “Alien Sun” finds the band at their most atmospheric while retaining their arena friendly hooks — and although the song will further cement their growing reputation for crafting crowd pleasing Death Cab for Cutie/The Postal Service/Snow Patrol-like indie rock, bolstered by an uncanny self-assuredness and earnestness of purpose. 

As the band wrote to me, they have a dream of playing concerts across

New Video: JOVM Mainstay Chelsea Wolfe Releases Sensual and Hellish Fever Dream-like Visuals for Album Single “Spun”

Now, if you’ve been frequenting this site over the past couple of years, you’ve likely come across a series of posts featuring the California-born and-based singer/songwriter guitarist and JOVM mainstay artist Chelsea Wolfe. And as you may recall, with the release of her four previously released albums. 2010’s The Grime and the Glow, 2011’s Apokalypsis, 2013’s Pain Is Beauty and 2015’s Abyss, Wolfe received attention across the blogosphere and elsewhere for an imitable sound that draws from gothic rock, folk, neo-folk, electronica and metal with a moody and cinematic quality — while thematically focusing on burrowing beneath the world’s brutality, ugliness, messiness and hurt to get at a profound sense of beauty. 

Wolfe’s recently released sixth full-length album Hiss Spun is reportedly inspired by a Henry Miller quote —  “What I want is to open up. I want to know what’s inside me. I want everybody to open up. I’m like an imbecile with a can opener in his hand, wondering where to begin — to open up the earth. I know that underneath the mess everything is marvelous. I’m sure of it.” And unsurprisingly, the material finds the renowned California-born and-based singer/songwriter and guitarist adopting Miller’s quest to become truly empowered by embracing the complete, messy self and to control the tumult within one’s soul — in the hopes of reigning in the chaos of the surrounding world. 

Ironically, as Wolfe explained in press notes, when she started working on the album, she had initially wanted to write escapist music with songs about being in your body and getting free; but “you’re just bombarded with constant bad news, people getting fucked over and killed for shitty reasons or no reason at all, and it seems like the world has been in tears for months, and then you remember that it’s been fucked for a long time; it’s been fucked since the beginning. It’s overwhelming and I have to write about it.” Of course, as you may recall, Hiss Spun was recorded by Kurt Ballou in Salem, MA earlier this year, during a brutally (and perhaps prototypical) New England winter, several major upheveals in Wolfe’s personal life, her coming to terms with years of conflicting feelings of vulnerability, anger and self-destruction, and a dark family history that has managed to weigh heavily in her life.  And as a result, the material on Hiss Spun may arguably be the heaviest, darkest and most forceful material she has written to date. Additionally, long-time collaborator Ben Chisholm contributes swaths of sound collages recorded while Wolfe and her backing and were on tour — the rumble of street construction while they were on tour in Prague; the howl of a coyote outside Wolfe’s home; the scrape of machinery on a floor of a warehouse at a down-and-out friend’s workplace, as well as samples from the bomb blasts of the Enola Gay, the shrieks and mating calls of primates, the fluttering pages of a book of Walt Whitman’s poetry are all manipulated and seamlessly placed within the music.

With the release of the album’s first two singles — the brooding  Tool and A Perfect Circle meets PJ Harvey-like cathartic, emotional purge of “16 Psyche” and the atmospheric and moody “Offering,” Wolfe has managed to reveal herself as a restlessly chameleon-like artist and songwriter, actively pushing her sound to new directions while crafting material that possesses a fearless, unvarnished honesty.  And the album’s latest single “Spun” continues in the same vein as its predecessors as Wolfe and her backing band pair enormous power chords, some dexterous and blistering guitar work and pummeling drumming in a slow-burning, sludgy dirge — but Wolfe’s ethereal crooning and wailing brings an plaintive and urgent yearning to the song.

Directed by Wolfe and shot in Sacramento, CA, the video is a dark, sweaty, yet sensual fever dream that manages to have an empowering quality as its female leads — Wolfe and pole dancer, Felicia Drake possess an cool, self-assuredness, although Drake in many ways is a siren through a tense and fucked up journey through one’s own memories and dreams. And as a result, the video manages to have a lingering, almost sickening quality of life’s very real ghosts. 

New Video: JOVM Mainstays High Waisted Pair Sensual, Sex Positive Visuals with Their Most Anthemic Single to Date

Over the past couple of years, I’ve written quite a bit about the New York-based indie rock quartet High Waisted. Comprised of Jessica Louie Dye (vocals, guitar), Jono Bernstein (drums), Richey Rose (bass) and Stephen Neilsen (guitar, vocals), the quartet quickly developed a reputation both locally and elsewhere for a sound that draws from surf rock, garage rock, psych rock and lo-fi rock — and for their DIY concerts/booze cruises (which are pretty fucking awesome, by the way), tiki-styled pig roasts and acid-fueled pizza parties. And if you’ve been frequenting this site over that same period, you’d know that with the release of their  Bryan Pugh-produced full-length debut On Ludlow, the New York-based indie rock quarter further cemented their reputation for scuzzy, party ’til you drop rock, that managed to reveal subtle shades of vulnerability underneath the surface.

High Waisted’s forthcoming, Tad Kubler-produced, sophomore album is slated for a Spring 2018 release, but before that, the band released a split single with The Coax through Little Dickman Records earlier this fall and “Firebomb,” off the split single reveals that the New York-based quartet has moved towards a fuller, arena rock-friendly sound, complete with enormous, anthemic hooks and a scuzzy, ass-kicking, name-taking swagger reminiscent of Lita Ford, Motley Crue an others — all while being one of the most decidedly forceful yet sensual songs they’ve released to date. Building on the buzz they’ve received for their latest single, the recently released video manages to emphasize the feminist rock ‘n’ roll call to action nature of the song. As the band explained on Uproxx. “This video is about the struggle to find the confidence to be your boldest self. It’s sex-positive and celebrates female strength. We also tried to play homage to powerful frontwomen of the 90’s.”

New Video: The Jangling and Minimalist Punk of Nashville’s Datenight

Datenight is an up-and-coming, Nashville, TN-based teenage punk rock trio, comprised of Isaac Talbot (bass), Thomas Borelli (drums) and Grayton Green (guitar, vocals), that can trace origins back to 2015 when they members of the band started the band while in high school. And while  the trio cites Jay Reatard, Oblivians and obscure 80s British and New Zealand punk rock, the band has developed a reputation for balancing fast, furious songs that clock in at around a minute with a straightforward sort of minimalism, and for effortlessly veering off into experimental and atmospheric sound. Naturally such minimalism means the members of the Nashville-based punk trio rely on short, straight to the point, punchy hooks and almost repetitive lyrics that generally focus on disappointing encounters with friends, relatives and others, and a growing sense of alienation and uncertainty. 

Upon graduation, the trio decided to pursue music as a serious career, going on a constant and relentless bit of touring, frequently playing anywhere they can, and of course, writing new material, including  “Too Good, their latest single.
“Too Good” will further cement the trio’s growing reputation for crafting jangling and anthemic punk that sounds as though it could have been released between 1977- 1983 or so, with a similar youthful, vibrant energy and an ironic sense of humor. 

Directed by Jessie Manos, the recently released video was shot on grainy and old timey Super 8 camera and captures the members of the band hanging out and goofing off, split with segments featuring the band playing the song — and the video captures the band’s youthful goofiness. 

New Video: Renowned French Electronic Act KCPK Releases a Cinematic and Surreal Video Focusing on the Tumult of Early Adulthood

KCPK is a French production and electronic music trio comprised of Alexandre Brovelli, Fabrice Brovelli and Christophe Caurret, best known as pioneers of the Rémoise electronic music scene with the likes of  Yuksek, Brodinski and The Shoes; for creating PANIK, a club night known for hosting Groove Armada, Laurent Garnier and Amon Tobin; for collaborating with Woodkid, The Chemical Brothers and Two Door Cinema Club; and lastly for their work in advertising as creative directors of renowned firm BETC. And if you were frequenting this site last year, you’d recall that “Who Wants It,” their collaboration with Philadelphia, PA-based emcee STS managed to bridge enormous, festival friendly, tweeter and woofer rocking house music with swaggering, braggadocio-fueled trap-like hip-hop in a way that felt mischievous and fresh. 
Along with that, the Nicolas Davenel-produced video was featured on The Creator’s Project, was nominated for Best International Urban Video at the UK Music Video Awards and was featured as the racing for Louis De Caunes’ video for Yves Saint Laurent’s Black Opium digital campaign. 

The French trio’s latest single “The End” is a propulsive and dare I say, arguably the most sensual and dance floor friendly songs they’ve released to date as it features razor sharp arpeggiated synths, a rousingly anthemic hook and breathily cooed vocals — and interestingly enough, the song and its production sounds as though it owes a debt to Giorgio Moroder, The Man Machine-era Kraftwerk and Daft Punk but with a hyper modern touch. 

Directed by Luc Besson’s former Steadicam operator Andrieu and Director of Photography, Nicolas Loir, who has worked with Woodkid, Ghostpoet and Snoop Dogg, the recently released video for “The End” is a cinematically shot one, that focuses on the tumultuous psyche of a teenaged girl as she struggles with a dysfunctional relationship with her mother and an unreciprocated romantic obsession, capturing the uneasy yet profound transition towards adulthood. Interestingly, the  video pays homage to several 90s coming of age movies through its use of props, fashion design and art direction — with live action footage meshed with visual effects by David Danesi. As the video’s director explains in press notes. “It’s a coming of age snapshot. At this stage, the rules get rewritten. Your eyes open to what lies beyond family and school. It is the first time you’re seeing yourself in the world, but emotional reactions overwhelm your ability to understand and cope. This is the end of innocence.”

New Video: Los Angeles Indie Rock Acts Winter and Trabants Team Up on a Lush and Shimmering New Single

Currently comprised of founding member Brazilian-born,  Los Angeles, CA-based singer/songwriter Samira Winter (vocals) along with Justine Brown, Chelsea Brown, and Summer Twins’ Anders LaSource, the indie rock quartet Winter can trace their origins to when the band’s founding member and primary songwriter along with co-founder Nolan Ely started the band while in Boston. And after the release of the band’s debut EP Daydreaming, the band’s frrontwoman relocated to Los Angeles and recruited an entirely different lineup to flesh out the project’s sound. With the band’s second lineup, Winter and company went into the studio to write and record the material, which wound up comprising their 2015 full-length debut Supreme Blue Dream — an album that featured material written and sung in both English and Brazilian Portuguese, while thematically meant to connect the listener back to their inner child. Sonically speaking, the album found the band establishing themselves for a sound that drew influence from 4AD Records’ heyday. 

Now, if you were following this site last year, you may recall that last year, the band was working on what would be their sophomore effort Ethereality. And although album single “Dreaming” was originally written in 2013, the single further cemented the Los Angeles-based indie rock quartet’s growing reputation for crafting ethereal and shimmering, guitar-based dream pop. 

Recently, the members of Winter finished a tour opening for Los Angeles-based indie rock and blogosphere darlings Cherry Glazerr, a standalone show with Colleen Green and a set at the Desert Daze Festival earlier this month — but adding to a rather busy period, Winter collaborated with Los Angeles-based surf rock band Trabants, featuring founding member, guitarist and primary songwriter Eric Penna and a rotating cast of musicians and collaborators, including the members of Man Man, Mean Creek, Creaturos, The Shills, World Inferno Friendship Society, Beware the Dangers of a Ghost Scorpion, Young Hunting, So Many Wizards, Breakestra!, The Dazies, Bury Me Standing, Jaggery, Cracktorch, Riptides and tomemitsu for a standalone single “Just Stay,” is a gorgeous and wistful track that manages to sound inspired by The Smiths, Que Sera and others. 

Speaking of wistful nostalgia, the recently released Lorena Alvarado-produced video features Super 8-based home videos of a family on vacation in a lush and gorgeously verdant summer paradise, capturing a time and way of life that can’t possibly happen ever again. 

New Video: JOVM Mainstays Screaming Females Release Surreal and Artistic Visuals for Their Most Restrained Single To Date “Glass House”

Now, if you’ve been frequenting this site over the course of the past few years, you’ve likely come across a number of posts featuring New Brunswick, NJ-based JOVM mainstays Screaming Females, comprised of Marissa Paternoster (guitar, vocals), King Mike (bass) and Jared Dougherty (drums). And as you may recall, the trio cut their teeth playing their hometown’s renowned all-ages basement scene; however, with the release of  2012’s Steve Albini-engineered Ugly, 2014’s forceful live album, Live from the Hideout and 2015’s Matt Bayles-produced Rose Mountain, the Central New Jersey-based band received wider exposure from NPR, Last Call with Carson Daly and MTV.  Adding to a growing profile, the New Jersey-based punk rockers have toured with a number of internationally and nationally known acts including Garbage, Throwing Muses, Dinosaur, Jr., The Dead Weather, Arctic Monkeys, Ted Leo and The Pharmacists, JEFF the Brotherhood, Little Lungs, Cheeky, The Ergs, Shellsshag and others.

Interestingly enough, 2015’s Rose Mountain was a decided change in songwriting and recording approach, with the band writing arguably some of the most concise, melodic and accessible material they’ve released, while retaining the blazing guitar work and muscular insistence of their previously recorded work. Up until relatively recently, some time had passed since they had released new, original material, and while “Black Moon,” continues their ongoing collaboration with Matt Bayles, it also reveals a band that’s restlessly experimenting with their songwriting approach and sound. Unsurprisingly, “Black Moon” finds the band crafting material with a forceful conciseness with razor sharp hooks — but thematically, the song also reveals a band that’s simultaneously meshing larger metaphors of a post apocalyptic earth with the universal experience of a relationship that ends in an embittering and frustrating fashion.

All At Once. the band’s seventh full-length studio album is slated for a February 23, 2018 release through Don Giovanni Records and the band reportedly set out to write an album in the spirit of a salon-style gallery show, where the larger pieces provide an eye-level focal point to a galaxy or smaller works — and as a result of a more expansive thematic reach, the members of the band openly and decidedly focused on experimentation with arrangements and song structure to evoke the energy and spontaneity of their live sets. As the band’s Mike Dougherty explains of their motivation “When you’ve been a band for 12 or 13 years, the resources can dry and you just go back to what feels comfortable. The other option is that you develop stuff that a younger band would not have been able to do.”

The album’s first official single “Glass House” finds the band practicing a sense of restraint in which the band embraces simplicity as Paternoster plays two relatively simple riffs in a 90s grunge rock song structure — quiet verses, loud, rousingly anthemic hook, quiet verse. But along with that, the song features some of Paternoster’s most melodic vocals of their catalog. “A song like ‘Glass House’ is something we knew we were capable of, but it took a while to fully embrace,” Paternoster says in press notes. “It’s something very simple — just bass, drums and twos simple riffs. In the past, I might have insisted on adding more. Practicing self-restraint is something I have consciously been trying to do.”

The recently released video for the song may be among the most surreal and artfully done videos they’ve released to date, as it cuts between the members of the band brooding and pensively sitting in a rather sparse room, Paternoster singing the song in dramatic lighting and a butler, who arranges vases — before smashing them over each band member’s head. 

New Video: The Psychedelic Visuals and Arena Rock Blues Rock Sounds of Shadow of Jaguar’s “Don’t Want to Die Here”

Comprised of Brian Hubbert (vocals, guitar) and Andrew Oakley (drums), the New York-based indie rock duo A Shadow of a Jaguar formed in early 2015 in Boulder, CO — and as the story goes, the duo of Hubbert and Oakley bonded over their mutual desire to write and make the kind of music they felt was sorely missing from their local scene. Within a few weeks, the duo began writing and recording original material while honing their sound and live set playing shows locally and throughout the country; in fact, their debut single “Mama Needs the Bottle,” and its follow up “Keep On Knocking” were received to praise from the likes of AXS and Live for Live Music. 

Since then, the duo have been touring and writing and recording the material that comprises their soon-to-be released album RAW, recorded, mixed and mastered in Denver, CO, by Todd Divel and Justin Peacock at Silo Sound. And as the duo explains in press notes, the album, which is slated for release later this month, was made “to stick a big middle finger up at all the fears and doubts that plague us. The goal was to force upon people the uncontrollable urge to scrunch their faces and nod their heads. ” RAW’s latest single, “Don’t Want to Die Here,” will further cement the duo’s growing reputation for explosive, arena rock-friendly blues rock, along the lines of The Black Keys and others, but complete with a swaggering and boozy vibe. 

Directed and produced by Wondering Works and the members of A Shadow oF a Jaguar, the recently released video for “Don’t Want to Die here” features dancer Cara Diaz expressively dancing to the song in front of projections of country roads, explosions, billowing smoke, and other psychedelic splashes of color.