Category: Video

New Video: Producer for The Strokes and Regina Spektor Releases Mischievous and Psychedelic Visuals for “View From Blue”

Gordon Raphael is a Seattle, WA-born, Berlin, Germany-based singer/songwriter, guitarist, and producer, who has worked with an impressive array of contemporary artists including The Strokes, Regina Spektor, Damon Albarn, Ian Brown, The Cult‘s Ian Astbury, Hinds and others; however, Raphael primarily sees himself as a singer/songwriter and guitarist. “I love producing, but playing guitar and writing songs is what I’ve always done,” Raphael says in press notes. “I wanted to show what I can do on the other side of the desk all the time, but producing kept getting in the way.”  Interestingly, Raphael’s long-awaited full-length debut Sleep on the Radio draws from Ziggy Stardust-era David Bowie, Mick Ronson, Kimono My House-era Sparks, Frank Zappa and prog rock among others, as you’ll hear on the album’s latest single “View From Blue.”

Reportedly “View From Blue” came to the renowned producer, singer/songwriter and guitarist in a dream and was part of over 1,000 songs he wrote over a period of time — and a section of 12 that were carefully honed and perfected to the point that they were living, breathing songs that needed to be heard, now.  And as a result, the anthemic hook-laden song possesses a forceful urgency underneath its boozy, free-flowing psychedelia.

The recently released visuals for the single features Raphael performing the song in the studio in front of psychedelic projections and playing with balloons but at one point Raphael is inexplicably in a purple wig — because why the hell not?  

New Video: Introducing the Spectral Sounds and Intimate Visuals for Lola Kirke’s “Not Used”

Lola Kirke is a British-born, New York-based singer/songwriter, musician and actress, best know for starring roles in Mistress America and Mozart in the Jungle, as well as a supporting role in David Fincher’s Gone Girl; but along with that, she’s also the daughter of drummer Simon Kirke, best known for stints in Bad Company and Free and Lorraine Kirke, the owner of Geminola, a vintage boutique known for supplying outfits for Sex and the City. As a singer/songwriter, her self-titled debut EP features four, plaintive songs that Kirke has personally dubbed Cosmic American. 

The self-titled EP’s latest single “Not Used” is about learning to live with a lover’s absence and as a result, the single possesses a visceral longing and ache paired with a spectral yet old-timey, honky tonk-like arrangement . But at its core, is the acceptance of the lingering ghosts of one’s past and the awkward attempt to move forward with one’s life to the best of their abilities.  And interestingly enough, the recently released music video was directed by and stars Lola Kirke’s sister, who spends the entire length of the song vigorously exercising in her small apartment — and as Jemina Kirke explains about the video treatment “Those transitional, soul-level-change moments we experience are never dramatic. Epiphanies don’t really happen. They’re a myth. Real transformation is boring and uncomfortable, like working out on your birthday when you have no plans. Change slips in unnoticed while you’re busy trudging through something pretty unremarkable.” 

New Video: Catch a Glimpse of The Day-to-Day Life of Colombians in the Visuals for Gabriel Garzón-Montano’s “Bombo Fabrika”

Over the past couple of years of this site’s seven year history, I’ve written quite a bit about Gabriel Garzón-Montano, a critically applauded Brooklyn-born and-based singer/songwriter and multi-instrumentalist, who has seen a rapidly growing national and international profile for a genre-defying take on contemporary soul and pop, with his work drawing from Bach, cumbia, 70s funk and soul, hip-hop and the wildly adventurous multiculturalism most familiar to native New Yorkers and New Yorkers. Along with that, Garzón-Montano has publicly mentioned that his mother, who was a member of the Philip Glass Ensemble in the 1990s may arguably be one of the biggest influences on his work and his creative process as her rigorous, classical instruction and her painstaking attention to detail. 

Now, as you may recall, Garzón-Montano’s long-awaited full-length effort Jardín was released earlier this year and it comes on the heels of a three year period of rather intense touring, writing, revising and recording that began with his 2014 debut EP Bishouné: Alma del Hula, which caught the attention of Lenny Kravitz, who then invited the Brooklyn-born-and-based multi-instrumentalist and singer/songwriter to open for him during his European tour that year. Adding to the growing attention around him, Garzón-Montano’s “6 8” was sampled on Drake‘s If You’re Reading This, It’s Too Late, which led to tours with Glass Animals and with his renowned Stones Throw Records labelmate, JOVM mainstay and personal favorite, Mayer Hawthorne.

Jardín was recorded withGarzón-Montano’s mentor, analog recording guru Henry Hirsch at Waterfront Studios in Hudson, NY last year and during the recording sessions Garzón-Montano tracked drums, bass, guitar, piano and synths directly to 2-inch tape, and then added percussion, digital programming and several layers of his own vocals to create the album’s overall lush sound — a sound that reportedly nods at Stevie Wonder’s Journey Through the Secret Life of Plants. “I wanted to make music that would remind people how beautiful life is – how delicate their hearts are. A garden is full of life, and growth, and beauty. I named the album Jardín hoping for it to create a space for healing when people put it on. I’ve always wanted to make music that is healing, comforting, and funky,” Garzón-Montano explained in press notes. Naturally,  our current sociopolitical climate has influenced a great deal of the material on the album, as thematically it focuses on the struggles and uncertainties of living in America but it’s balanced our by its equal focus on the complications and joys of love.

Of course, unsurprisingly, I’ve written about several singles off the album, including “Crawl,” a single which effortlessly meshed hip-hop, 90s neo-soul and contemporary pop with a slick production featuring ambient synths, twinkling keys, a wobbling bass line, tweeter and woofer rattling beats and a sharp, swaggering hook; “My Balloon,” a single that continued on a similar vein while tinged with the aching regret of a confusing and uncertain relationship with someone who isn’t quite on the same emotional or mental space as you are; and “Sour Mango,” a slow-burning and soulful track, which features Garzón-Montano’s sultry vocals over a jagged production featuring shuffling beats, twinkling keys, wobbling synths, but underneath the surface, there’s an visceral ache over a love that seems completely unlikely. 

The album’s latest single “Bombo Fabrinka” features a lush and soulful production consisting of shuffling boom-bap-like beats, twinkling keys, and layers of Garzón-Montano’s sultry vocals — and while building upon the overall sound of the album, the song reveals an up-and-coming singer/songwriter, who has an uncanny talent for writing a sharp, infectious hook paired with introspective lyrics, based on deeply personal and revealing experiences with love and loss; but interestingly enough as Garzón-Montano explains “‘Bombo Fabrika’ is about the place I go to when I write music. The music is not mine, it flows through me from a source much older and wiser than my body.”

Directed and filmed by Santiago Carrasquilla in San Basilio de Palenque, Colombia, the recently released music video for “Bombo Fabrinka” is a revealing and cinematically shot glimpse into the day-to-day life of San Basilio de Palenque, Colombia. And although, the people of the village may be poor, they express a pure joie de vivre that’s absolutely infectious. Garzón-Montano says of the video “Palenque is a magical place — people blasting music and playing drums and singing everywhere — expressing more joy than I’ve seen or felt in my whole life. . . Palenque is famous for originating some styles of Cumbia music. Filming this video in such an energetically potent musical birthplace was an incredible and humbling experience.” 

New Video: Goof Off with The Texas Gentleman in the Visuals for Their Funky Single “Habbie Doobie”

Currently comprised of core group of bandleader and founding member Beau Bedford, Nik Lee, Daniel Creamer, Matt McDonald, Ryan Ake and a constantly evolving and rotating cast of collaborators and friends, The Texas Gentlemen were initially assembled as an all-purpose backing band for an eclectic array of singer/songwriters including Leon Bridges, Nikki Lane, Shakey Graves, Delta Spirit’s Matthew Logan Vasquez, Jack Ingram, Terry Allen, Ray Wylie Hubbard, Ray Benson, Joe Ely and many others, and in a similar fashion to The Wrecking Crew, The Muscle Shoals Swampers (who once backed Aretha Franklin, Wilson Pickett and lengthy list of soul legends), Booker T. and The M.G.’s and The Band. Last year, the members of The Texas Gentlemen backed the legendary Kris Kristofferson at this first Newport Folk Festival appearance in more than 45 years, and the set lead to a series of critically applauded shows across Texas. 

Building on their growing reputation as a go-to backing band, the band signed to New West Records, who will release their full-length debut effort TX Jelly on September 15, 2017. Recorded at FAME Studios in Muscle Shoals, AL, the album, which was produced by the band’s Bedford was recorded live to tape over four days in a raucous recording session and features material that touches on the blues, soul, folk, country rock, gospel and Southern rock. As Bedford described the recording sessions to the  folks at Paste, “We set up our own version of Rock ‘n’ Roll Summer camp and invited our friends down to FAME studios. We figured at worst, we would have a great time as friends hanging out in one of the most historic studios in America. There was so much mojo once we turned all of the gear on, sounds just started popping out of the speakers, and the songwriters couldn’t help but feed off the energy. TX Jelly is the fruition of years of kinship and a deep hunger by our collective group for American roots music.”

“Habbie Doobie,” TX Jelly’s first single is a sweaty, funky and hook driven bit of down home, Southern rock that sounds as though it draws from The Allman Brothers, The Band, Lynyrd Skynyrd and The Black Crowes but with the free-flowing improvised feel of a bunch of old friends jamming and hitting upon a groove, with each individual musician knowing where the other was going next. And while easily displaying the cool, self-assuredness of old pros, the song is a decidedly bold introduction to the band as an individual unit.In fact, interestingly enough the recently released video for “Habbie Doobie” features the members of The Texas Gentlemen jamming and goofing off in their Dallas, TX-based Modern Electric Sound Recorders Studio in a way that you’d almost expect them to do. 

New Video: Indytronics’ “Savannah Only Temple” Video Captures the Lives of Kiev’s Kids

Comprised of Danil Bogadenko (guitar, vocals), Vitaliy Koutsiuk (bass), Ruslan Dobrov (drums) and Denys Rybchenko (guitar, backing vocals), the Kiev, Ukraine-based indie rock/post band Indytronics can trace their origins to when Bogandenko and Rybchenko were touring across Europe, and while in Stockholm, Sweden the duo came across street musicians, who were playing an interesting melodic indie rock-leaning vibe. And as the story goes, Bogandenko and Rybchenko were so impressed by this particular band and by several other bands that they decided to start their own band when they returned to Kiev. 

Since their formation in 2012, the members of Indytronics have released their 2013 debut EP Vision and their 2015 full-length debut Scintilla Wave and they’ve developed a growing profile both nationally and internationally; in fact, they’ve made live appearances on several Ukrainian TV shows and have received regular 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. 

Now, as you can imagine I receive quite a bit of emails from a publicists, publicity firms, band managers, record labels, bands and artists from increasingly far-flung places these days, and as the band explained in their email to me, their latest single and video “Savannah Only Temple,” everyone has their own temple, and it can anything.  And while clearly drawing from indie rock and post-punk the band’s sound is an incredibly slick and contemporary take that to my ears reminds me a bit of Narrow Stairs-era Death Cab for Cutie, The Postal Service’s Give Up and Snow Patrol, complete with a rousingly anthemic arena rock-friendly hook and a subtly wistful vibe. 

The recently released video for the song features the Ukrainian quartet performing the song in an empty pool that local kids have repurposed for their skateboarding, and the band broodingly walking around a school’s athletic field. And while being a glimpse of Kiev’s kids, it suggests something far larger — cultural differences withstanding, kids everywhere are almost exactly alike. By watching these kids, you should see yourself at their age, goofing off and planning adventures with friends, having enormous dreams of making someone of yourself, of having crushes on the kid next door or the kid in your Chemistry class. 

New Video: JOVM Mainstays Pavo Pavo Return with Hazy and Dreamy Visuals for “No Mind”

If you’ve been frequenting this site over the past 12-18 months or so, you’ve likely come across a handful of posts featuring the Brooklyn-based experimental pop/psych pop act  Pavo Pavo. Deriving their name from the name of southern constellation Pavo, which is Latin for peacock, the members of the band Eliza Bagg (violin, synths, vocals), Oliver Hill (guitar, synths and vocals). Nolan Green (guitar, vocals), Austin Vaughn (drums) and Ian Romer (bass) can trace its origins to when the members of the quintet were studying at Yale University. And since their formation, individual members of the band  have collaborated with the likes of a number of renowned and accomplished bands including Here We Go Magic, John Zorn, Dave Longstreth, Porches, Olga Bell, Lucius, Roomful of Teeth and San Fermin among others. Now, as you may recall their “Ran Ran Run”/”Annie Hall” 7 inch was praised by a number of media outlets and blogs, including Stereogum, who praised their sound as being “weightless pop music that sounds like it was beamed down from a glimmering utopian future.” Although, I’d mention that while clearly nodding at 60s psych pop and 80s New Age, just underneath the glimmering surface, there’s a subtle hint at unease, anxiety, rot and dysfunction. 
The band’s full-length debut Young Narrator in the Breakers was released last year through Bella Union Records and according to the members of Pavo Pavo, the material thematically describes both the magic and panic of adult life, with the understanding that much like getting caught in a vicious breaker while swimming at the beach, you have to stop fighting and ride it out until you can get to shore safely. And unsurprisingly, the album was met with critical applause with Pitchfork describing the album as “a lovelorn alien reaching out from the farthest reaches of the galaxy” and The Guardian describing the album to “Brian Wilson running amok in the BBC radiophonic workshop.” 

“No Mind,” Young Narrator in the Breakers’ latest single is a deceptively straightforward track. Although it hews very close to hazy 60s psych pop, the song is a swooningly wistful and lovelorn song that seems much more bittersweet than their previous releases while retaining their incredibly crafted sound centered on Bagg’s and Hill’s gorgeous boy/girl harmonizing, soaring, vintage analog synths and sharp hooks. “No Mind” may arguably be the most human of their tracks, as there’s a real ache over 

Directed by the band’s longtime friend Jon Appel, the video started as a concept devised by the band’s Eliza Bagg. Bagg’s concept began as a take on the prototypical performance-based music video; but featuring an abstract narrative and dance choreography. Reportedly, she pictured a bleak, digital space with her own character being a sort of rebellious siren of truth, dancing and singing songs of real connection while the rest of her band grew increasingly complacent and robotic within the video’s highly artificial and colorful confines. Appel guided Bagg and her bandmates through the process of adapting and bringing her ideas to life — and as a result, the video builds off the characters of the other videos off Young Narrator, an amalgamation with Bagg returning to the sunshine on a white cloud chrysalis. And while being a hazy, almost lysergic-tinged dream, the video possesses a tender and surreal beauty. 

New Video: The Visceral Where the Wild Things Are-Inspired Visuals for Holy Wars’ Latest Single “Orphan”

Arguably best known as one half of  Los Angeles, CA-based indie electro pop act Sad Robot, with Long Beach, CA-born, Los Angeles, CA-based multi-instrumentalist Nick Perez, Connecticut-born, Los Angeles, CA-based singer/songwriter Kat Leon developed a reputation for material that focused on her obsessions with death and the occult. With both of her parents suddenly dying within months of one another, Leon was plunged into a period of profound and heartbreaking grief. And after taking some necessary time to grieve, Leon began her latest, solo recording project Holy Wars, influenced by what may have been some of the darkest days of her life to date; in fact, the project in many ways to her is a way to extrapolate the tumultuous feelings and thoughts she had felt and thought during that period — with the result being her Holy Wars debut, double EP Mother, which will released at the end of this month and Father, which is slated for release later on this summer. Of course, both EPs are dedicated to her respective parents and while being dark and at points foreboding, the material isn’t completely nihilistic; in fact, Mother‘s first single “I Can’t Feel A Thing”is a cathartic release, rooted around an anthemic arena rock-like sound reminiscent of Paramore —but with profoundly adult angst, from the recognition that death is a permanent and inconsolable loss, a wound that can never really be healed, and that the only thing anyone can do is figure out a way to move forward.

Mother‘s second single “Orphan” is a slower burning, mid-tempo track that focuses on what may be the darkest, saddest and yet most true aspect of life: that everyone you ever know and love will one day die, and the survivors reeling from inconsolable loss have to piece together their lives, and with her backing band, Leon pairs that sentiment with a stormy and forceful arrangement within a 90s alt rock structure — quiet verses, stormy and loud choruses; however, much like “I Can’t Feel A Thing,” the song isn’t completely negative. Yes, it’s a weary acceptance but within that acceptance is a paradoxical vulnerability and strength.

Based on a concept by Katherine Pawlak and directed by Jeremy Cordy, the recently released visuals for “Orphan” is seemingly influenced by Where The Wild Things Are, Peter Pan, and The Lost Boys as Leon leads a troupe of orphans, who she ultimately gives a voice to express themselves. And much like the video for “I Can’t Feel A Thing,” the visuals are gorgeously, cinematically shot and incredibly visceral. 

New Video: RJ Sanchez-Directed Visuals for Muneshine’s “Full Throttle” feat. The Darcys Pay a Glorious and Campy Homage to 80s Pop Culture

Rob Bakker is a Saskatoon, Saskatchewan-born, Toronto, ON-based multi-Juno Award and Polaris Prize-nominated hip-hop producer, engineer and recording artist, best known as Muneshine. Recently, Converse Rubber Tracks had the Saskatoon, Saskatchewan-based producer collaborating with the acclaimed Toronto, ON-based art rock/indie rock duo The Darcys on “Full Throttle,” a sultry, classic house music-inspired club-banging single that finds both the producer and renowned indie rock duo using their sound and aesthetic in a completely different and unchartered territory, arguably being one of the sexiest songs both parties have released to date — while thematically speaking, the song is about escaping whatever that weighs you and your life down — work stress, school stress, relationship stress, family stress, etc.

As the Saskatoon, Saskatchewan-based producer explains of the collaboration with The Darcys “Wes [Marskell] and Jason [Couse] are great to work with. They’re obviously great songwriters and musicians, but beyond that we just get along as humans. We share a similar dark and sarcastic sense of humour as well, which makes our sessions an evil pleasure. I love having an idea on my own and finding my own way to express it, but when you bring other people that you trust creatively into the fold and put your heads together you’re forced to explore possibilities that live beyond your own imagination. That’s a beautiful thing.”

Directed by RJ Sanchez, the recently released visuals for “Full Throttle” pay homage to the 80s — namely Fame, Flashdance, Knight Rider and Magnum P.I. in a way that’s simultaneously campy as hell, but manages to capture the exact tone and feel of 80s pop culture — to the point, that you can briefly be tricked into thinking that the song and the video were released around the period that influenced it. As Bakker says of his collaboration with Sanchez, “I met RJ through Geoff McLean (Vision Film Co.) when I was on the hunt for an exciting new director for my 2015 single, ‘Sunshine’. I hadn’t seen much of his work, but Geoff’s the man and his taste is impeccable, so that suggestion was all I needed to hear. Needless to say, RJ knocked ‘Sunshine’ out of the park, so when I finished up ‘Full Throttle’ with Darcys, I knew exactly where to go for that fire. The only ‘must-have’ I put on RJ was my need for a sexy 80’s sports car (preferably a Lamborghini Countach – my all-time favorite automobile) and he took it from there. We couldn’t source the Countach, but he got his hands on a cherry red Magnum P.I. Ferrari, and who can hate on that?! RJ gets all the props for this masterpiece, I couldn’t be happier with how it’s turned out.”

New Video: Hang Out with Stevenage’s Local Kids in the Wistful Visuals for Saint Etienne’s “Magpie Eyes”

Comprised of founding members and childhood friends Bob Stanley and Pete Wiggs along with Sarah Cracknell, the London-based indie pop trio Saint Etienne have been associated with the UK’s indie dance pop and indie dance music scenes since the release of their 1991 debut, Foxbase Alpha, an effort which established the act for uniting 90s club culture with 60s pop and other disparate influences and styles.  Interestingly enough, as the story goes, childhood friends Stanley and Wiggs were both former music journalists, who originally intended their musical project to employ the use of several different vocalists; in fact, their aforementioned debut featured the duo working with a number of vocalists including Moira Lambert and Donna Savage. However, after working with Sarah Cracknell on “Nothing Can Stop Us,” Stanley and Wiggs decided to make Cracknell the permanent vocalist; in fact, since then Cracknell has written or cowritten may of the duo’s songs throughout their eight previously released albums. 

The trio’s ninth full-length album Home Counties was produced by Young Gun Silver Fox’s Shawn Lee and features some accomplished guests including Kero Kero Bonito’s Augustus; Carwyn Ellis, who has worked with Colorama and Edwyn Collins; The Dreaming Spires’ Robin Bennett; Richard X, who has worked with Girls On Top and Black Melody and long-time collaborator Gerard Johnson, who has worked with Denim and Yes — and the album’s latest single “Magpie Eyes” will further cement the trio’s reputation for crafting infectious and breezy pop, while subtly expanding upon their sound. In particular, the single manages to subtly mesh psychedelia, 80s synth pop and New Wave and bubblegum pop in a sleek and slickly produced track; but at its core, is a sweet and wistful sincerity, along with a aching recognition that all things are fleeting. including love. 

Shot in Stevenage, UK, the Tash Tung-directed video focuses on a group of its local kids, including an uncanny bunch of young dopplegangers of the trio, spending time aimlessly hanging out and goofing off. As the band’s Pete Wiggs explained in press notes, Stevenage was once a fleeting vision of a suburban utopia and by capturing the town’s kids, including the band’s doppleganger, the idea was to capture “the ennui and bonhomie of those years when you have no idea how your life will pan out.” As a result, the video possesses a dual and paradoxical sense of the uncertainty and confusion of one’s youth and the knowledge of time rushing by before you can catch up.  The video’s director, Tash Tung adds that he’s been a longtime fan of the trio, and that “it was a great experience to work in a small team, and also with a lot of creative freedom, sing film photography and shooting docu-potraits of kids from the local area in the town centre.’ He goes on to say that one his favorite moments from the shooting was arguably one of the most serendipitous — he cast his friend Eve Mahoney to play the young doppleganger to Sarah Cracknell, when he found out that Mahoney’s uncle, Joe Dilworth was the band’s longtime photographer. 

New Video: The Lysergic and Apocalyptic Visuals for Blackout’s Doom-Laden “Graves”

Currently comprised of founding members Christian Gordy (vocals, guitar) and Justin Sherrell (bass, vocals) and newest member Adam Taylor (drums), the New York-based doom metal/hard rock/stoner rock trio Blackout released two albums through renowned hard rock/stoner rock label RidingEasy Records — their 2013 debut effort We Are Here and 2015’s self-titled album — before going through a hiatus, which resulted in the departure of the band’s third founding member Taryn Waldman. Waldman’s departure from the band was a devastating blow to Gordy and Sherrell, both of whom saw Waldman as being so instrumental to their sound and songwriting approach that they felt the band’s fate was uncertain; however, last summer Gordy armed with a handful of mushrooms and a bottle of tequila set out to write new material for the band — and while being particularly inspired, Gordy contacted and recruited Adam Taylor, who had just left Ghost Punch to write and record the band’s third and latest album The Horse, which RidingEasy Records released last month. 

“Graves,” The Horse’s first single will further cement the trio’s reputation for a gritty and bruising sound, consisting of sludgy power chords and thundering drumming that reportedly draws influence from Helmet, Cro-Mags, Judge, Prong and others but just underneath the surface is a slow-burning brooding sense of menace.  And it shouldn’t be surprising as the song describes scenery from the apocalypse in such vivid terms that you can smell the sulfur and feel the debris falling around you, and feel everyone around you going absolutely mad from panic. 

The recently released lysergic-tinged video features footage of the band playing in front of a projection screen that features footage of the cosmos, nuclear bombs exploding, psychedelic sludge, exploding lava and other scenery; in some way, it’s like a White Zombie video gone absolutely insane.

New Video: Widowspeak Returns with Moody and Lonely Visuals For New Single “Dog”

Currently comprised of Tacoma, WA-born, Brooklyn-based founding members Molly Hamilton (vocals, guitars) and Robert Earl Thomas (guitar), the indie rock duo Widowspeak initially formed in 2010 and featured founding members Hamilton, her longtime friend Michael Stasiak and Thomas. As a trio, they released their critically applauded 2011 self-titled debut, an effort which had album single “Harsh Realm” featured in an episode of American Horror Story. And with greater attention on the group, the then-trio recruited Pamela Garavano-Coolbaugh for their subsequent tours; however, by 2012 Stasiak and Gravano-Coolbaugh left the band, leaving two of its original members.

Interestingly, while going through a massive lineup change, Hamilton and Thomas began working on their Kevin McMahon-produced sophomore effort Almanac, an album that was released to critical applause both nationally and across the blogosphere; in fact, the band was named one of Fuse TV’s 30 must-see artists at 2013’s SXSW — and if you’ve been frequenting this site for a while, especially around 2013, you would have come across a couple of posts featuring the Brooklyn-based duo.  Now, it’s been four years since I’ve written about them but as it turns out, Widowspeak will be releasing a new album, Expect The Best through renowned indie label Captured Tracks on August 25, 2017. And the album’s latest single “Dog,” as Hamilton told NPR is “about the compulsion to move on from things and places, even people when you’re not necessarily ready to. Sometimes I get caught up in ‘the grass is always greener” mentalities or cling to an idea that ‘I’d be happy if . . .’ and make a drastic change. Then inevitably, I feel restless a few months later and it stars again.” While sonically, the song will further cement the duo’s reputation for crafting moody and hazy guitar pop that channels Mazzy Star, the song possesses a restless and ambivalent vibe as it captures an easily bored and frustrated narrator, who desperately yearns for more and more and more, and as a result the song feels urgent yet paradoxically un-rushed.

Filmed, produced and edited by Otium, the recently released video for “Dog” possesses a feverish and lonely late night nostalgia that emphasizes the song’s longing and overall ambivalence.

New Video: Introducing the Anthemic and Jangling Pop Guitar Pop of Wesley Fuller

Wesley Fuller is a Perth, Australia-born, Melbourne, Australia-based singer/songwriter multi-instrumentalist and producer, who quickly received national attention with the release of his debut EP, Melvista for an anthemic jangling guitar pop sound that draws from 60s bubblegum pop, 70s glam rock. Fuller’s much anticipated full-length debut Inner City Dream is slated for a September 22, 2017 release through 1965 Records, and the material will reportedly further cement his growing reputation for crafting infectious and anthemic pop that sounds mischievously anachronistic, all while subtly expanding upon his sound and songwriting approach, as his influences expanded; in fact, as a result of his regularly occurring DJ sets in and around Melbourne, Fuller cites late 70s and early 80s Talking Heads as a growing influence on him. As Fuller explains “Melvista was really my first solo expedition and I was learning as I went along. I think by the time I came to record the album I had a better technical knowledge of what I was doing. There’s probably a wider span of influences on the album. I wanted to showcase every aspect of my sound.” 

Along with the sound, Fuller’s material thematically has reportedly progressed as well with the material on Inner City Dream revealing a growing maturity with the material focusing on the worldview of a young man trying to come to terms with his place, both physically and symbolically — but at times with a wry, observational humor; in fact, as you’ll hear on Inner City Dream’s later single “#1 Song,” the song smartly focuses and then mischievously takes fire on the upper echelon of modern pop. As Fuller says in press notes “I think everyone in the scene knows to a certain extent that it’s all bullshit. So why take it seriously? You’ve got some artists with 20 tracks in the Top 30. The gap between the big stars and the indie bands are worlds apart. There’s really no money in music at all unless you’re at the very top. To get there, you have to compromise your dignity and be prepared to release some pretty pedestrian shit.” But instead of calling those who have managed massive success a bunch of soulless sellouts, the song sly says “well, in that situation what would you do? Does anyone dream of criss-crossing the country in an old van with two, three, four or more broke, desperate and sweaty musicians, and possibly getting your whole life stolen while on the road? Who doesn’t dream of having the biggest song in their country — or in the world? And who doesn’t dream of playing in front of massive crowds at Glastonbury, Madison Square Garden, Wembley Stadium, The Rose Bowl, etc.? What would you do in the face of an opportunity of a lifetime? Talk about artistic integrity? Bullshit! You’d probably sign your name on the dotted line, sell your soul and your mother if you have to.  

“#1 Song” ironically enough manages to sound as though it was a #1 song released sometime between 1969 and 1974 — with a subtly modern production sheen; but at its core is some incredibly slick and carefully crafted pop-leaning songwriting, complete with an incredibly infectious, danceable, and anthemic hook reminiscent of T. Rex, Bay City Rollers and a handful of others.

The recently released video features Fuller and his backing band appearing as though they fell out of time warp from 1973 or so, playing “#1 Song” on a Top of the Pops-like TV show — and the way the video is shot, to even how the musicians appear to be playing bear an uncanny resemblance to how shows of that period were shot.   

New Video: The Gorgeously Cinematic and Expressive Visuals for Black Needle Noise and Jennie Vee’s “Heaven”

John Fryer is a London, UK-born, Los Angeles, CA-based multi-instrumentalist and producer, who is best known for his work as a producer, shaping the sound of Cocteau Twins, Depeche Mode, much of the Mute Records, 4AD and Beggars’ Banquet roster, as well as Nine Inch Nails, Love and Rockets, Cradle of Filth and countless others. Fryer is also known as one-half of the duo This Moral Coil with Ivo Watts-Russell. 

Fryer’s solo recording project Black Needle Noise continues his legacy for crafting lush and moody soundscapes as he collaborates wth a number of different vocalists; in fact, Lost in Reflections, the renowned producer and recording artist’s sophomore Black Needle Noise effort finds him working with Jennie Vee, Andrea Kerr, Chrysta Bell, Sivert Hoyem and others — and interestingly enough, it come-on the heels of Fryer’s collaboration with the aforementioned Chrysta Bell on a Twin Peaks-inspired cover of Julee Cruise, Angelo Badalamenti and David Lynch’s “Falling.” Anyway, album single “Heaven” is a strikingly cinematic track which pairs Jennie Vee’s sultry and achingly tender vocals with a lush yet atmospheric production featuring swirling electronics, shimming guitar chords and industrial clang and clatter. And although the track will further cement his legacy for crafting a sound that you would have grown up obsessed with as a child of the 80s, the song also reveals not just his generosity in working with up-and-coming and contemporary artists, but it also reflects the contemplative, introspective nature of the album’s title — while pairing a dark sensuality with an visceral sense of heartbreak. In fact, the song’s narrator is facing the ghosts of a dysfunctional and controlling relationship that has lingered, even as she’s 4,000 thousand miles away. 

Shot in a cinematic and creepy black an white, and directed by Talon McKee and Lloyd Galbraith, edited by Jennie Vee, featuring animation by Mark Francombe and choreographed by Caroline Haydon, the video starts its choreographer writhing and swooning in a combination of pleasure and heartache; but at its core is a protagonist, who expresses desire, vulnerability, and self-asurredness simultaneously. 

Live Footage: Ruby Force Performs “Church and State” at Pheasant Studios

You may recall that earlier this month, I wrote about Erin McLaughlin, a Los Angeles-based singer/songwriter, whose solo recording project Ruby Force reportedly captures her personal journey of self-discovery through hard-fought and honest storytelling-based songwriting focusing on tales of love gained and lost and her own life. And with her soon-to-be released Ruby Force debut Evolutionary War, McLaughlin along with an incredibly accomplished backing band featuring  Elijah Thomson, who has played with Everest, Delta Spirit and Father John Misty; Richard Swift, who has played with The Black Keys, The Shins, The Arcs and Foxygen; Frank Lenz, who has played with Pedro The Lion; and Sean Watkins, who has played with Nickel Creek have written deeply personal yet accessible material based on a particular period of McLaughlin’s life; in fact, as she explained to Rolling Stone, “it strings together like a narrative essentially, about how I love.”  
“Cowboy,” which I wrote about a few weeks ago is a sweet, old-timey/honky-tonk-inspired country song, and the song’s narrator describes a hotly passionate yet dysfunctional, romantic relationship with a cowboy, who persistently and predictably breaks her heart; but she defiantly and proudly loves him because after all, they’ve been through everything and anything together. And although you’ve likely heard such a theme in countless country songs, McLaughlin delivers her lyrics with a beguiling mix of easygoing, self-assuredness, earnestness, flirtatiousness and self-effacing irony.

“Church and State,” Evolutionary War’s latest single, much like the preceding single was inspired by a deeply personal experience — and in this case, “a mystically transitional phase in my life when my best girlfriends and I were living in a tiny Victorian house on the literal corner of Church and State Streets in Redlands, CA,” McLaughlin explained to The Bluegrass Situation. “We were playing at the Martini Lounge on Saturday nights and singing harmonies in the church band on Sunday mornings. So, you know, the song pretty much used me to write itself.” While lyrically, the song reveals a novelist’s attention to detail — particularly the aging woman in a pink rocking chair, stomping her beat to a rhythm, the feeling of love and comfort the song’s narrator feels by being around her beloved friends and the woman who’s love and devotion saved a young cowboy from hell; but paired with a slow-burning and atmospheric arrangement that gives McLaughlin’s vocals room to stretch and roam. Interestingly, her vocals manage to channel Bonnie Raitt, circa “I Can’t Make You Love Me.” And from  this new single, I think that McLaughlin may arguably be one of country’s up-and-coming stars.