Category: Video

New Video: Following Young People Hanging Out and Partying in JOVM Mainstay Lust For Youth’s “Tokyo”

Now over the past few years, the Danish electro pop trio have become JOVM mainstays — and you may recall that I wrote about that I wrote about “Better Looking Brother,” and “Sudden Ambition” the first two singles off the their sophomore effort Compassion, which was releaesd earlier this year. And both singles further cemented their reputation for crafting melancholic and aching synth pop that was simultaneously dance floor-friendly. The album’s third single “Tokyo” continues on the same vein of the album’s preceding singles but lyrically the song evokes the sense of confusion, loneliness and disconnectedness and wonder of being on the road, as the song’s narrator describes a life of hotel rooms, hotel room food, a brief chance to wander around a town and get a sense of it, the late night crowds and neon lights, the longing for someone who you either can’t have — or is thousands of miles away, removed from your unusual life on the road.

The recently released video for the song was shot by Tokyo residents, who filmed themselves and their daily lives in their hometown — late nights with Lust For Youth fans, who catch their idols playing at a local club, and then speeding off to the next thing, the next adventure or just goofing off with your crew. And in many ways, the video seems to capture young people almost anywhere.

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New Video: Smoke Season’s Sultry, Synth Pop Cover of Talking Heads’ “Psycho Killer”

Just in time for the Halloween season, the members of Smoke Season released a minimalist synth pop cover of one of my favorite Talking Heads songs “Psycho Killer” in which Wortman’s sultry vocals are paired with cascading layers of shimmering synths, glitchy and stuttering drum programming and wobbling low end. And while the Talking Heads version conveyed a tense and anxious neurosis, the Smoke Season version makes losing one’s mind and killing darkly sexy — much like the visuals for the song, which features Wortman and Rosen dressed in tuxedos with scenes of modern dancers, dancing to the song, footage of trees coming into and out of shadow and the like.

New Video: Introducing the Jangling and Anthemic Guitar Rock of French Singer/Songwriter Pamela Hute

Pamela Hute is a Paris-based singer/songwriter, who began her music career in earnest at a very young age — as a teen she formed The Mashed Potatoes before going solo in 2006. And as a solo artist, she’s released two albums, 2010’s Tales From Overseas and 2013’s Bandit, with Bandit being mixed by John Agnello, who has worked with the likes of The Kills, Sonic Youth and Cyndi Lauper. Interestingly both albums revealed that Hute specialized in jangling guitar pop and synth pop with rousingly anthemic hooks paired earnest lyrics as you’ll hear on The Breeders and 90s alt rock channeling “Banshees,” the second and latest single off her self-produced effort Today. But at its core, Today manages to reveal what may arguably be Hute’s most personal songwriting, influenced by a trip she took to California.

The recently released music video is shot in a gorgeous and cinematic black and white, and captures Hute with her backing band performing “Banshees” live at La Fourmi in Limoges, France.

New Video: The Creepy, Grindhouse-Inspired Visuals for ExSage’s Anthemic “Tripwire”

Interestingly, the duo’s soon-to-be released EP Out of the Blue was produced by Alain Johannes, who has collaborated with Mark Lanegan, Them Crooked Vultures, Brody Dalle, and Queens of the Stone Age, and as you’ll hear on Out of the Blue’s first single “Tripwire,” the band sonically speaking sounds as though they were indebted to The Raveonettes and The Kills. In other words, enormous blazing power chords are paired with thunderous and propulsive drumming and harmonized vocals led by Clover’s pop star-like vocals, and a rousingly anthemic hook — all of which gives the song a larger than life swagger just underneath the song’s bluesy psychedelia.

The recently released video for the song is indebted to creepy, Grindhouse movies and includes a deranged doctor performing surgery without anesthesia, and his bandaged victims walking around like mummies before being driven around in the duo’s sweet Dodge Charger.

New Video: Visuals for The Frightnrs’ “Nothing More To Say” Pays Tribute to a Dear and Departed Friend While Capturing the Musician’s Life

“Nothing More To Say” has an old school sound and feel, and will likely remind those New Yorkers of Dahved Levy‘s WBLS radio show back in the day. And although the song possesses an upbeat, bouncy riddim, the song is ironically enough an achingly bitter lament from the song’s narrator about being devoted to a fickle, deceitful and difficult lover, who probably never loved him anyway, and as the narrator recognizes the awful truth that his relationship was a lie, he vows to pack up his stuff and go — and go as quickly as possible while nursing a broken heart. Love is a strange and confusing thing even in the best of circumstances and the song captures the sense of foolishness we’ve had in trusting someone we maybe shouldn’t have; the regret over waiting valuable time with someone not quite worth our time and attention; the strange balance of love and hate being shifted; and the sense of uncertainty — both of one’s future and if they’d be able to trust someone else again.

The recently released video for the song is a fitting tribute to Dan Klein, as it captures him with the band performing in clubs, recording material at Daptone Records and at a makeshift home studio, and captures the band goofing off. At one point as a sad tribute, the video focuses on the band recording the song with an empty microphone at the center of the room. Some of of the footage is taken from iPhones while the rest of its professionally shot and edited but more importantly, it captures Dan Klein’s life and his sorely missing presence — while capturing the lives of everyday musicians.

New Video: The Coquettish, Night Club Inspired Visuals for Body Language’s “Addicted”

With the release of “Addicted,” the first single off the Brooklyn synth pop act’s forthcoming effort Mythos, the act reveals that the quartet has gone through a subtle change in sonic direction, as the single draws from New Jack Swing and classic house as shimmering and cascading layers of synths, handclap-lead percussion and stuttering beats paired with Angelica Bess’ sultry, come-hither vocals. Is it love? Is it lust? Maybe it’s both? And we’ve all been there — and as confusing as it could be, the possibilities both contain are endless and fun, and the song manages to capture that all with aplomb.

The recently released video accurately captures the spirit and feel of dance videos shot in the 90s — full of neon bright colors, extreme close-ups, tons of confetti, and it emphasizes the sultry coquettishness of the song.

New Video: JOVM Mainstays denitia and sene Return with Slick Visuals for Their Genre Mashing Single “open wide”

denitia and sene’s latest single “open wide” pairs enormous, tweeter and woofer rocking beats, wobbling synths and industrial clang and clatter with Odigie’s ethereal cooing — and while being somewhat chilly and industrial, the song possesses a sultry sensuality as its narrator is spends her time swooning over her object of attention and love. The duo’s latest single will cement their burgeoning reputation for crafting earnest, hook driven pop that’s equally coquettish.

The recently released music video was directed by Brian Mac and was edited by Nolan Theis and features the duo shot in almost heavenly white backgrounds brooding and being flirtatious and employs the use of slick split screens, pulsating lights and other effects.

New Video: Zig Zags Returns with Another Blistering, Face-Melting, Anthemic and 80s Metal Inspired New Single and Video

Running Out of Red’s third and latest single “They Came For Us” continue on the same vein as its preceding two singles — enormous, face-melting power chords, thundering drumming and rousingly anthemic hooks paired with lyrics that focus on horror movie themes. And every time I’ve heard this song, I can envision the metalheads at Clem’s, (un-iroinically) headbanging and shouting along with upraised beers and fists.

The recently released music video employs the use of suicidal cult imagery — and in some way, it reveals the dangers of blind obedience and conformity, while also pointing at the lunacy of following an ignorant, narcissistic, power hungry, greedy, authoritarian blowhard like Donald Trump.

New Video: Introducing the Debaucherous Old School Rock Sounds and Visuals of NYC’s Cheena

Cheena is a New York based indie rock act, who specializes in a gritty and scuzzy old-school sound that draws from glam rock and punk paired with lyrics full of sleazy, rock ‘n’ roll mayhem and debauchery — or as the liner notes of a great EP by a now-defunct band once read these are “songs to fight and fuck for.” And with the release of their full-length debut, Spend the Night With . . . , the band has received both national and international attention for a sound that seems inspired by T. Rex, Thin Lizzy, Ziggy Stardust-era David Bowie and others, as you’ll hear on the anthemic, barn-burner “Stupor.” Frankly, just listening to this song reminds me of all the great dive bars I used to drink irresponsibly in — oh how, I miss them so!

Interestingly, as the band announced their first European tour, they also released the video for “Stupor,” a video that captures the members of the band, in tight jeans and leather, drinking beer, running around and shot on grainy VHS-style tape to give it that proper old-school, shitty feel

New Video: The Cinematic Visuals for The Deltahorse’s “Call It a Day”

Now, if you’ve been frequenting this site for some time, you’re most likely familiar with The Deltahorse in some fashion or another — and you’d know that earlier this month I wrote about “Happy Heart (Can Go For Miles),” the first single off the act’s long-anticipated and soon-to-be released, full-length debut Transatlantic. “Happy Heart” consisted of Colley’s swaggering and sultry electric baritone saxophone passages, stuttering drumming and drum programming, Sash’s propulsive bass lines with Vadim’s plaintive vocals signing lyrics about how a happy heart can endure almost everything; however, just under the surface was an underlying bitter irony. The album’s second and latest single “Call It A Day” is a cinematic and forceful single consisting of slashing, staccato piano chords, boom bap drum programming, Colley’s swaggering and strutting electric baritone sax skronking, subtly ominous and swirling guitar and bass chords, propulsive percussion and Zeberg’s coolly ironic vocals singing lyrics that hint at the desire to continually move forward and physical desire while beginning to cement their reputation for crafting material with deep, danceable grooves paired with a literate, cinematic sound.

The recently released music video employs a rather simple concept — the band’s Vadim Zeberg in close up singing the song with the Atlantic Ocean behind him. Throughout Zeberg is revealed to have a rather expressive face, at one point after briefly looking at his shoulder at something, he begins to smile mischievously, at other points bobbing his head while singing, and at other points looking at things with an ironically, raised eyebrow.