Category: New Video

New Video: JOVM Mainstays Modern Time Machines Send Up Classic TV Shows in Video for Album Single “Freefall (Can’t Stop)”

Over the past couple of years of this site’s history, I’ve written quite a bit about the Los Angeles, CA-based shoegazer act Modern Time Machines, and as you may recall with the release of singles like Dweeb,” the band comprised of Ben Golomb, Justin Bond, Nadia Franks and Neil Johnson have received attention for a pairing dreamy boy/girl harmonizing with a sound that has drawn comparisons to  M83, Medicine, Sonic Youth and others. Adding to a growing profile, the band has received airplay on  KROQ 106.7FM, have appeared on Adult Swim’s The Eric Andre Show and will have some of their music featured in director Ashley York’s upcoming film So Help You God. 
The up-and-coming, Los Angeles-based shoegazers’ Josiah Mazzaschi-produced, sophomore effort MTM is slated for release next week, and the album features guest spots from Nightmare Air‘s Dave Dupuis, Bell Gardens’ Kenneth James Gibson, that dog.’s Kaitlin Wolfberg and a remix from electronic music production and artist duo De Lux. Earlier this year, I’ve written about the A Storm in Heaven-era The Verve “High Noon” and the  Dinosaur, Jr-like “Failsafe,” off the album — both of which further cemented their reputation for crafting 120 Minutes-era MTV-like indie rock. And much like its predecessors, MTM’s latest single “Freefall (Can’t Stop) continues in a similar vein as the band has a penchant for soaring hooks, feedback drenched guitars and dreamy boy/girl harmonizing, centered around earnest and plaintive lyrics. 

Directed by the band’s Ben Golomb and featuring a lengthy cast, the recently released video is a hilarious and ridiculous send up on a number of classic TV shows including Mary Tyler Moore, Small Wonder, Gilligan’s Island and others.  

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New Video: Dr. Octagon’s Surrealistic Take on Kung Fu

Known as a co-founder of renowned and legendary hip-hop act Ultramagnetic MCs and for a lengthy and uncompromising solo career in which he has taken up a number of aliases and personas, while collaborating with an array of emcees and producers, Kool Keith is arguably one of hip-hop’s most idiosyncratic and eccentric personalities and artists — and throughout his incredibly prolific recording career, he has continually perfected and expanded upon his inimitable flow, full of surreal and fantastical tangents, grimly violent and nightmarish imagery, sexual and pop cultural references while effortlessly and frequently switching perspectives, moods and points of view within the same song.

Now, if you’ve been frequenting this site, you know that I’ve written quite a bit about Kool Keith and his various solo releases, reissues and collaborations but interestingly, the imitable emcee along with collaborators Dan The Automator and DJ Qbert have teamed to revive his alter ego Dr. Octagon 20+ years after the critically applauded, revolutionary debut effort  Dr. Octagonecologyst. “Octagon Octagon,” the first single from the trio’s long-awaited Dr. Octagonecologyst follow up, Moosebumps: an exploration into modern day horripilation is a bit of a return to form for the trio — but possessing a frenzied urgency that could only come from marathon 24-hour recording sessions at Dan The Automator’s studio. Kool Keith reprises his lecherous and hopelessly incorrigible Dr. Octagon, who has insane sexual exploits, performs even odder surgeries but with an impossible, outlandish surrealism that’s at points absolutely hilarious, flat out weird and other times horrifying, sometimes within the turn of a phrase; in fact, Moosebumps: an exploration into modern day horripilation’s first single “Octagon Octagon” was wryly intelligent and absurdly satirical commentary on capitalism, branding, advertising and free, as Kool Keith rhymes about Dr. Octagon being shamelessly opportunistic and greedy, putting his name on rice and beens, gasoline, tampons and anything else that would pay him over a minimalist yet menacing production, which emphasizes the Kool Keith’s imitable, almost Dada-esque flow.

“Flying Waterbed,” Moosebumps’ latest single features a slow-burning, production that’s oddly reminiscent of Scott Walker’s Scott Walker 3 as it features soaring strings, a sinuous bass line, a looped and shimmering guitar line, a mournful yet regal horn line and stuttering drums, and as a result it possesses a hallucinogenic, dream-like air. Throughout Kool Keith rhymes in absurdist non-sequiturs to create punchlines with surreal imagery — “busted kneecaps like Kobe,” “nasal so big I can fly aircraft up your nose,” references to space ships, “I’m a Martian with a Stephen Curry face” “tube socks, looking like Dr. J.” It’s drugged out as fuck, yet strangely mournful and sexy — and perhaps even more so with Interpol’s Paul Banks singing the hook.

Directed by Joel Knoernschild, the recently released video for “Flying Waterbed” is centered around the imagery of old Kung Fu movies; in fact, it features Roy Chen performing Kung Fu with a tea kettle, much to the annoyance of two unimpressed customers and in several gorgeous yet urban setups.

New Video: Up-and-Coming Finnish Electronic Music Producer and Artist NightStop Releases Creepy Visuals for Brooding Album Single “Under the Killing Moon”

Last month, I wrote about the  Jyväskylä, Finland-born and-based, up-and-coming Finnish electronic music producer and artist Ere Ek, who started the 80s cyberpunk soundtrack-inspired project NightStop back in 2012. Since then, Ek has seen a growing profile across Europe and Russia’s tight-knit DIY scene, steadily touring and releasing both cassette and vinyl releases. Now, the Chicago, IL-based label No Trend Records, the label home of Ganser, Absolutely Not and others will be releasing a vinyl edition of NightStop’s most recent effort, Dancing Killer on March 30, 2018 — and as you may recall, although the album has already seen a digital release, Ek included a pulsating John Carpenter meets Umberto-like single “Phantasmagoria,” as a bonus digital track for the album. Interestingly, while that track cemented his reputation for crafting brooding and cinematic retro-futuristic electro pop; however, it may arguably be one of the most dance floor friendly tracks he’s released to date. 

Building upon the buzz surrounding the vinyl release of Dancing Killer, the up-and-coming Finnish electronic music producer and artist recently released the incredibly creepy, stop animation based video for “Under the Killer Moon,” by Tommi Niukkanen. As far as the single, it’s a retro-futuristic and broodingly cinematic track featuring layers of shimmering, arpeggiated synths and thumping beats — and while clearly being indebted to the aforementioned John Carpenter and Umberto, it may also be the most menacing track of the entire album. 

New Video: The Stark Sounds and Visuals of The Soft Moon’s “Give Something”

Luis Vasquez is an Oakland, CA-based singer/songwriter, producer, multi-instrumentalist and creative mastermind behind the critically applauded industrial/dark wave/post-punk recording project The Soft Moon. Vasquez’s latest Soft Moon album, the recently released Criminal is reportedly one of his most confessional albums he has released to date, as the material is written through a stark lens of shame and guilt, in which the material thematically focuses on a man at war with himself, battling with self-hatred, insecurity, self-entitlement paired with the fear of those things transforming him into the type of person he normally despises.

Criminal’s latest single is the broodingly stark and atmospheric “Give Something,” a track that pairs his falsetto with thumping beats, razor sharp synths and industrial clang and clatter. Interestingly, as Vasquez explains in press notes, the track focuses on his inability to reciprocate love and tenderness to another person. “Having no control over the constant urge to sabotage all things that are good for me, there is irony and frustration in knowing that in the end, the impossibility of love is what ultimately will save me from my myself.” It’s a plaintive and gut wrenchingly urgent call for help from a deeply troubled, emotionally damaged yet incredibly self-aware person.

Directed by Kelsey Henderson and featuring video effects and color by Victoria Keddie, the recently released video for “Give Something” focuses on a split screen throughout — one the left, a topless woman with her back to the screen and a couple seemingly in the middle of intense coitus, with the same woman from the left hand side grabbing and scratching the back of her lover with a desperate, painful grip that leaves marks. At points the visuals go through stuttering visual effects that on one level makes it look as though the woman may be abusing herself  — or her lover — out of selfish motivations.

New Video: JOVM Mainstays Oddnesse Release 1980s MTV-Inspired Visuals for Slow-Burning, Torch Song “I Used To”

Over the past year or so, I’ve written a bit about the Los Angeles, CA-based indie pop project Oddnesse, and as you may recall, the project comprised of singer/songwriter Rebeca Arango and producer Grey Goon can trace its origins to when both members individually relocated from the East Coast to Los Angeles after being in several failed bands. As the story goes, Arango and Goon bonded over a shared vision of beautiful and infectious music with a dark, heavy groove, and initially the project began as two friends jamming and experimenting with ideas before they began to take it as a serious endeavor. 
Last year, I wrote about “Are You Down,” a sultry Mazzy Star -like single that paired Arango’s sultry, self-assured yet laid back crooning with a moody and sleek production featuring shimmering guitar chords, a sinuous and propulsive groove and a soaring hook — and a come hither vibe. The duo’s latest single “I Used To” is an atmospheric and meditative track featuring an ethereal arrangement consisting of twangy, guitar chords, gently droning synths with Arango’s crooning vocals ethereally gliding over the the surface and while nodding at 80s New Wave and pop, there’s a subtle alt-country leaning to a song that has a rather cinematic vibe. As the duo’s Rebeca Arango explains in press notes, the song comes from a rather personal experience: “I had driven alone from LA to Utah and back twice. I absolutely loved it, in the way I’ve always loved the independence of no one needing me, no one expecting me, no one to confer with about where I might stop, when I might leave, if I might come back. I was grateful on those trips (as one usually is) for the dissolution of a relationship I had been overly attached to.  I was grateful that my mind was clear and that I had the experience to myself. I was happy. I didn’t need to know what was next.” And as a result, the song buzzes with an anticipation over a new, unseen future.

Directed by Casey Feldman, the recently released video was shot in a furious three day period along with the video for “I Used To” that included one crew member and two different directors — but interestingly enough, while the new video is decidedly inspired by 1980s MTV, it subtly emphasizes the song’s emotional complexity in which loss can be equally punctuated with pride, acceptance and hope. 

New Video: The Moody Sounds and Visuals for Blake Brown and The American Dust Choir’s “Up in Arms”

Blake Brown is a Denver, CO-based singer/songwriter, who after participating in a number of collaborative projects, founded Blake Brown and The American Dust Choir in 2013 with the idea that it’d give him the flexibility of playing solo while collaborating with a revolving cast of friends, who could play whenever they were able to do so; in fact, the revolving cast behind The American Dust Choir has featured members of The Fray, The Films and Tennis. However, after three EPs and countless live shows, the band has settled on a permanent lineup featuring Brown, his wife Tiffany Brown, and longtime friends Jason Legler, Adam Blake, and Trent Nelson.  

The Joe Richmond-produced Long Way Home, Blake Brown and The American Dust Choir’s full-length debut was released earlier this year and the album while further cementing the band’s reputation for a sound that meshes indie rock with folk/Americana paired with complex melodies and heartfelt lyrics based around experiences within Brown’s personal life — in particular, heartbreak, deception, reflection, growing up and becoming adult and so on. Adding to a growing profile, the band kicked off the release of their debut with an official SXSW showcase, in which they opened for Keith Urban. 

“Up in Arms,” Long Way Home’s latest single is a twangy bit of indie rock that nods at Fleetwood Mac and 70s AM rock, complete with a rousingly anthemic hook and some impressive guitar work and while being unhurried, the track manages to be tinged with the bittersweet memories and experiences within a relationship; in fact, the recently released video is shot with superimposed double exposures, meant to evoke the duality between the inner and outer worlds of its protagonists. 

New Video: Up-and-Coming British Act ISLAND Release Gorgeously Cinematic Visuals for Soaring Album Single “Horizon”

ISLAND, an up-and-coming London-based act can trace their origins to when vocalist Rollo Doherty’s solo, acoustic, bedroom project expanded to a fully fleshed out band with the addition of Jack Raeder (guitar), James Wolfe (bass) and Toby Richards (drums)  — and with the release of two critically applauded EPs, the band have quickly developed a reputation for crafting atmospheric yet anthemic, arena rock friendly material largely inspired by the likes of Fleetwood Mac, Kings of Leon, The War On Drugs, Grizzly Bear and others, and for must-see live see that they’ve honed through some relentless touring of the UK and European Union over the course of 2017.

Building upon their growing profile, the London-based quartet’s highly-anticipated self-produced, full-length debut Feels Like Air reportedly continues their long-held DIY approach to the creative process while further cementing their reputation for crafting incredibly self-assured earnest and anthemic songs; in fact, album singles “Try,” “The Day I Die,” and “Ride” have amassed a total of over 2.6 million Spotify steams — with the band earning nearly half-a-million monthly listeners.  Interestingly, the album’s latest single “Horizon” is a slow-burning, atmospheric track with enormous, arena friendly hooks reminiscent of Unforgettable Fire and Joshua Tree-era U2 and while self-assured, it reveals a band that’s managing the difficult balance of an ambitious desire to rock everyone’s pants off with a thoughtful and deliberate attention to mood and craft.

Directed by Claes Nordwall, the recently released, and incredibly cinematic video for “Horizon” follows the members of the band driving through the snowy Swedish countryside, with each individual member broodingly lost in their thoughts. And as the members of the band explain in press notes, the video “captures a key theme of the album as a whole — the idea of a passenger drifting through different dreams on a journey. We wanted the video to reflect the open soundscape, we feel the song creates, so we jumped at the chance to shoot in the vast Swedish countryside. Claes took us back to his snowy hometown for the video, which had an amazing dreamlike feel that really suited the ideas we wanted to convey.

New Video: The Vivid and Surreal Visuals for Del the Funky Homosapien’s and Amp Live’s Swaggering and Mind-bending Collaboration

Born Teren Delvon Jones, Del the Funky Homosapien is an acclaimed Bay Area-born and -based emcee and producer, who can trace the origins of his music career to when he wrote lyrics for his cousin Ice Cube‘s group Da Lench Mob, which initially included the legendary West Coast emcee, filmmaker, screenwriter and movie star before they broke off into a distinct group of its own.

With the assistance of his cousin Ice Cube, Del released his 1991 solo debut album I Wish My Brother George Was Here, an album that was a commercial successful largely due to the popularity of album single “Mistadobalina.” Del wasn’t pleased with the limited musical range of the album and severed his production-artist relationship with Ice Cube for his sophomore album No Need for Alarm, an album that introduced the Oakland hip-hop collective Hieroglyphics, which featured Souls of Mischief, Casual, Pep Love, Del and producer Domino while bringing the Oakland sound to a larger audience. Interestingly, the album is also considered instrumental for expanding what would become the freestyle-based golden era of hip-hop.

Although Del didn’t produce another solo album for about five years, he collaborated on the Hieroglyphics crew’s 1998 debut 3rd Eye Vision; however, by the time he was about to release his third solo album Future Development, his label Elektra Recordsterminated his contract. Initially, the album was only available as a cassette through the Hieroglyphics website before being re-releassd through the Hieroglyphics Imperium label in 2002; but before that, he collaborated with Dan the Automator and Kid Koalain hip-hop supergroup Deltron 3030 and their critically applauded, 2000 self-titled debut and along with his Deltron 3030 collaborators on two singles on Gorillaz‘s eponymous, smash hit 2001 self-titled debut — “Clint Eastwood” and “Rock the House.” He followed that up with his fourth solo album Both Sides of the Brain, and Hieroglyphics 2003 sophomore effort Full Circle. 

Since then Del has managed to be incredibly prolific releasing albums both through tradition labels, as free downloads and with pay-as-you-wish efforts with specific incentives for those who pay certain prices for the album, including a chance to collaborate with Del in the studio and so on.

Amp Live is a Texas-born, California-based producer and DJ, who is known as one of half to the hip-hop duo Zion I, and for critically applauded remixes of material by Radiohead, Tokyo Police Club and Jamie Lidell. And as a solo artist, he’s released two albums and an EP — 2010’s Murder at the Discotech, 2014’s Headphone Concerto and 2017’s Atmosphere EP and 2011’s Therapy at 3, a collaborative effort with Eligh.

Interestingly, Del and Amp Live will be teaming up on the forthcoming album Gate 13, an album that sonically draws from and mixes hip-hop, funk and electronica while finding two of hip-hop’s most inventive artists collaborating with Goapele, Eligh, Simi, Zyme, Adult Karate, Mr. Micro and James Melo, essentially creating a “portal into something progressive, futuristic, and fun,” as the duo says in press notes. Interestingly, the album finds the renowned emcee evolving his imitable style, as he studied both comedy and battle rap, with Del making a concerted effort towards conciseness. “I told Amp about it, and he kind of showed me what his interpretation of what that would be,” Del says in press notes. “When I heard it, I thought it was tight. I didn’t even know he was going to do it.” Amp Live adds “Del has been talking about doing more straightforward, aggressive writing. Everything that I was messing with kind of had the same theme,” the producer says of the album’s tracks. “Even when I flipped them after, I tried to stay true to the original feeling.”
“Wheel of Fortune,” Gate 13‘s first single begins with a thumping, boom-bap beats and arpeggiated synths and Del’s imitable flow, complete with some of the most ridiculous word play, complex rhyme schemes and insanely funny punch lines you’ll hear in some time, as he throws massive haymakers at any and all who dare to battle him. About halfway through the track Amp Live drops a dub reggae break, which he follows with a manic tempo — and throughout Del effortlessly and dexterously handles it in a free flowing, almost mischievous fashion. Dope emcees being challenged by dope producers is what all hip-hop should aspire to, no matter what the era.

Shot and edited by Spencer Groshong at Ineffable Music Group, the video employs neon bright visuals and the sort of special effects reminiscent of a wildly psychedelic Sesame Street and 3,2,1 Contact.

New Video: The Dramatic and Vivid Visuals for Uppermost’s “Perseverance”

Over the past year or so, I’ve written quite a bit about the Paris, France-based electronic music producer, multi-instrumentalist and electronic music artist, Behad Netjabakshe, best known in electronic music circles as Uppermost. And as you may recall, the French producer, multi-instrumentalist and electronic music artist has developed an internationally recognized profile with the release of material through renowned labels like Sony BMG, Ministry of Sound, BugEyed Records, Starlight Records and his own Uppwind Records; in fact, singles like “Equivocal” landed at #3 back in 2009 and his Biscuit Factory EP landed at #1 on the JunoDownload electro-house charts. Additionally, Netjabakshe has received attention for his remixes of  Daft Punk, deadmau5, Burial, Crystal Castles, Jonathan Coulton, Syl Johnson, Congorock and others — and he’s had his work playlist by a number of superstar producers and artists including  Tiesto, Armin van Buren and Steve Angello.

Las year, saw the release of Origins 2011-2016, a comprehensive compilation that featured ed some of Netjabakshe’s most popular tunes, including “Flashback,” “Beautiful Light,” “Reminder” and “Mistakes,” as well as new, original material including the shimmering and anthemic M83-channeling singles “Thousand Colors,” and “Emotion,” the Pink Floyd-channeling,  cinematic “Reminder,” the 45:33 and Sound of Silver-era LCD Soundsystem-leaning “Alive,” and a lush, cinematic rendition of “Constellation” performed with members of the Paris Symphonic Orchestra. Origins 2011-2016‘s highly anticipated follow up, Perseverance officially dropped today, and the album reportedly features some the most personal and impassioned material Netjabakshe has released to date while collaborating with vocalists with backgrounds in folk, hip-hop and pop.

Last month, I wrote about the album track “Atoms,” a collaboration with Birsen that paired her gossamer-crooning with arpeggiated analog synths, a motorik-like groove and an infectious hook — and while being both dance floor and radio friendly, the song possessed an aching humanity, as it pointed out humanity’s vulnerability and smallness in an incomprehensibly immense universe.  Building upon the buzz around the album, the French producer, multi-instrumentalist and electronic music artist released the album’s latest single, the swaggering “Perseverance,” a collaboration with singer/songwriter Harry Pane, that pairs Pane’s soulful vocals with an ominously thumping production consisting of twitter and woofer rocking beats and arpeggiated synths and an anthemic hook; but despite the seemingly ominous vibes, the song is actually extremely uplifting, as it features lyrics that focus on determination, dedication and — well yeah, perseverance in the face of life’s obstacles.

Directed by Joseph B. Carlin, the recently released video, which features live action and animation follows as a frustrated yet determined painter (Sebastian Iturria) through both his daily routine, commuting to his cramped studio. Despite the fact that throughout most of the video, it’s implied that Iturria’s painter is extremely talented, he’s in the middle of a creative rut in which he either feels uninspired or everything he tries to create feels uninspired before a deep dive into the artist’s bright and Dada-eqsue inner world.

 

New Video: The Gorgeously Cinematic Visuals for Porlolo’s “Wasting Time”

Indie rock act Porolo was founded back in 2002 as a solo recording by its creative mastermind and primary songwriter, the (currently) Fort Collins, CO-based singer/songwriter Erin Roberts, best known as the frontwoman of defunct, Denver, CO-based indie rock/synth-wave/chill-wave act Ending People, and over the years it has increasingly become a collaborative project with a collection of friends and associates, influenced by the dramatic landscapes and even more dramatic personalities she has encountered.  Interestingly, Porlolo is a decided change in sonic direction from Roberts’ work in Ending People, as the project finds Roberts and her collaborators focusing on grungy, alt-country-like indie rock. With the hook-driven and twangy “Wasting Time” off the project’s forthcoming James Barone-produced Awards EP features some ambitious and expansive songwriting, while centering on an aching sense of regret over wasted time and wasted chances. But there’s also a sense of pride in accepting your role in fucked up circumstances and walking away with some semblance of your dignity intact. 

The recently released and cinematically shot video for “Wasting Time” is set in the middle of the Colorado Rockies and features Porlolo’s Erin Roberts rambling through the forests and brambles, and broodingly posing and/or staring off in the distance; but during the song’s hook, Roberts faces her doppleganger, as though telling herself a needed-to-hear message about moving forward.