Category: Video

New Video: Introducing, the Jazzy Neo-Soul Sounds of Vinegar Mother

As Vinegar Mother, the band has developed a reputation locally as they’ve played a number of shows across this fair city — including The Knitting Factory and The Studio at Webster Hall — and along with a CMJ appearance last year, the band has opened for the likes of The Lonely Biscuits, Kat Wright and The Indomitable Soul Band, Joanna Teters and Mad Satta, thanks in part to an easygoing and jazzy take on neo-soul that sounds indebted to 90s Erykah Badu, Jill Scott and others, while possessing an expansive, prog-leaning song structure, as you’ll hear on the band’s latest single “Sunny Seat.”

As Vinegar Mother’s Julia Zivic explained to the folks at Impose, “Sunny Seat,” was inspired by personal experience and a journal entry she had been writing while committing to work. “I was writing on the subway after a bad falling out with one of my longest best friends,” Zivic explained. And as the story goes, as the G train she was on crossed the Gowanus Canal Bridge, the morning sun had hit her directly in the face. While being comforted but the sun’s warmth, Zivic wouldn’t shake the unbearable feeling of loss — and she begun to write portions of the song while on the train. “I remember writing about how desperate I was to get home to Itamar and Jay and make a song out of these emotions I had. This song and its natural coming about means a whole lot to me. It cuts me deep every time we perform it.” So it shouldn’t be terribly surprising that the song while being somewhat upbeat, possesses both a morning commuter’s weariness and a deep, bitter ache.

For the recently released video, Zivic’s vocals narrate and serve as the innermost thoughts and feelings of the video’s protagonist, also played by Zivic. Throughout the video, its protagonist is reminded of the fact that not only do ghosts linger, they are inescapable and find eerie ways to haunt you. And of course, we see Zivic rush back to her bandmates in Brooklyn to ostensibly write the song with an easygoing, cool-self assuredness.


New Video: Vienna, Austria’s Hearts Hearts Return with a Brooding and Artistic Meditation on Identity, Self-Invention and Perspective

“AAA” is the Austrian quintet’s latest single off Young and sonically it’s a song that nods at Kid A, Amnesiac, and Hail to the Thief-era Radiohead as shimmering guitar chords, stuttering drum programming, swirling electronics, twinkling keys and a lush string arrangement with Österle’s tender and aching falsetto expressing a deep yearning for more while possessing an underlying uncertainty at its core. Interestingly enough as the band’s frontman David Österle explained about both the song and its video treatment: “I think that the world is a place, where we can dare to pretend. ‘AAA’ deals with that basic feature of the human condition. We fake it till we make it, and thereby go (at least sometimes) astray in the plethora of metamorphoses in that societal masquerade. I think that by assuming different roles we ourselves are fulfilling the requirements of the economy, demanding excessive flexibility and changeability. As a result we all feel like faceless puppets sometimes.

“We wanted to make a video that visually underscores this figuration of identity as a permanent process of self-inventions. The video is much about showing people in different perspectives. The images are blurry, sometimes they are overlapping and merging together seamlessly. What the lens captures, is actually the performance of a performance, the play in a play.”

New Video: Renowned British-born Singer/Songwriter Miten’s Elegantly Simple Cover of a Beloved Beatles Tune

Miten’s recently released Temple At Midnight is his first solo English language work in over a decade and in many ways the album finds him returning to his musical roots while writing deeply personal material inspired and influenced by his own journey to renewal, faith and love. And interestingly, the album’s latest single is an elegantly simple cover of The Beatles’ “Norwegian Wood” in which Miten’s soulful and wizened vocals are paired with a sparse arrangement that has Miten accompanying himself with guitar, a bit of piano here and there, a mournful string arrangement and some backing vocals from his partner and collaborator Deva Premal. And while radiating a quiet assuredness and tranquility, Miten’s cover also possesses the same wistfulness of the original.

New Video: The Gorgeous and Surreal Visuals and Sounds of Pavo Pavo’s “Ran Ran Run”

If you have been frequenting this site, you may have come across a couple of posts about the band when they released their “Ran Ran Run”/”Annie Hall” 7 inch, an effort that was also praised by the folks at Stereogum as “weightless pop music that sounds like it was beamed down from a glimmering utopian future,” while nodding at the psych pop sounds of the mid 60s; but just underneath the gleaming surface, there’s a bit of unease, anxiety and rot. In my mind, the song strikes me as a feverish yet whimsical dream of simmering synths and ethereal harmonies that skip about the song’s instrumentation like a pebble being tossed across a placid lake.

The band’s long-awaited full-length debut Young Narrator in the Breakers is slated for a November 11, 2016 through Bella Union Records and to celebrate the album’s upcoming release, the band released a gorgeous and artful music video for the album’s first single “Ran Ran Run.” Directed by artist collective SWIMMERS, the video features the bandmembers in a series of surreally staged scenarios that emphasize the song’s ethereal and surreal nature. As the band’s Eliza Bagg explains of the song and the video, “‘Ran Ran Run’ is a song about the joys and sorrows of growing up, the awareness of impermanence and change — ‘time is a hole in my waterbed!’ In the video we pass through some kind of portal into a completely manufactured reality — a space that is intense but also playful, full of stark contrasts and extremes (of color, texture, mood). We’re somewhere between children and adults, literally dressing up, playing, play-acting, trying on the guises of who we might be. Actually a theme throughout this record is that the whole prospect of becoming an adult involves a little bit of fantasy — reaching for a possible world or possible self, and aiming for magic, for something over the top, fantastical.”

New Video: The Mind-Bending, Psychedelic Visuals and Sounds of Twin Limb’s “The Weather”

“The Weather” is the latest single off the Louisville, KY’s soon-to-be-released effort Haplo and much like the other material I’ve written about over the years, it possess a gauzy, dreamy quality — as though the song’s narrator has just been awakened from a pleasant reverie; however, where the previous singles were towering, “The Weather” is much more understated as undulating and droning keys are paired with shimmering guitar chords played through gentle amounts and reverb and sultry pop belter-like vocals in a song that focuses on a growing sense of anticipation and aching longing.

The recently released music video employs the use of kaleidoscopic filters and effects to create a trippy and mind-bending psychedelia that further evokes the song’s gauzy feel.

New Video: Introducing the Post Rock/Post Punk Sounds of San Francisco’s The Soonest

Led by San Francisco, CA-based singer/songwriter Young Lee and featuring a rotating cast of collaborators including members of indie rock bands such as WATERS, Hazel English’s backing band, Doe Eye, There’s Talk, and Elsa y Elmar, The Soonest have released a handful of EPs at traditional recording studios that have won attention both locally and regionally for a layered and moody, 80s post-punk/post-rock leaning sound; in fact, Lee was asked to write the score to the documentary Weaving Shibusa.

Mixed by Greg Francis and mastered by TW Walsh, the project’s recently released full-length debut effort, Doors to the City was recorded in an empty Bay Area church, and the high wooden ceilings helped create the enormous, wall of sound like sound that you’ll hear on Doors to the City’s first single “Start a War,” a single that pairs Lee’s lilting and dramatic vocals with layers upon layers of angular guitar chords, a forceful, motorik-like groove consisting of a sinuous bass line and propulsive drumming, and an anthemic hook. Sonically, the song manages to channel Crocodiles and Heaven Up Here-era Echo and the Bunnymen — including deeply urgent and visual lyrics that describe an uneasy and fraught relationship.

New Video: Check out the Surreal Animated Video for Kool Keith’s Collaboration with MF Doom and Madlib

“Super Hero,” Kool Keith’s latest single has the renowned and prolific emcee teaming up with MF Doom to trade incredibly visual and narrative bars full of surreal and disconnected pop culture and comic book references over a Madlib production consisting of wobbling and undulating synths, stuttering drum programming and looped chimes around the song’s infectious hook to create a warped comic book world of anti-heroes being incredibly eccentric and badass.

The recently released animated video pokes fun at old cartoons while employing neon bright stop motion animation and Claymation to a trippy, mind-blowing effect.

New Video: The Playfully Retro-Futuristic, Videogame Inspired Visuals for Kishi Bashi’s “Say Yeah”

Interestingly, Ishibashi’s recently released, third album Sonderlust was produced by Grizzly Bear‘s Chris Taylor and co-engineered by Pat Dillet, who has worked with Angelique Kidjo and David Byrne, and drummer Matt Chamberlain, who has been a member of Morrissey‘s and Fiona Apple’s backing band and a member of Montreal, and the album finds Ishibashi expanding and playing with the sound that won him acclaim across the blogosphere — thanks largely in part to the fact that the album’s material didn’t come about immediately or through his usual creative process. “As I sat down to write songs last summer, I went to all my usual conduits of creation: violin loops, guitar, piano and I came up with the musical equivalent of fumes,” Ishibashi explained in press notes. “I tried to create orchestral pop recordings that I assume were my forte, and in turn, I found myself standing in front of a creative wall of frightening heights.” This period of creative uncertainly, along with significant changes in his personal life, led him experiment with a new musical direction. “I questioned everything about what it means to love and desire…the difference between loving someone and being in love,” Ishibashi says.

The album’s first single “Say Yeah” has Ishibashi pairing twinkling and shimmering synths, lush string and wind arrangements, propulsive drum programming, an incredibly infectious hook and the renowned violinist, vocalist and producer’s tender and aching falsetto in a swooning yet dance-floor friendly song that interestingly enough sounds as though it were indebted to disco and both electro pop — all while still possessing a swooning Romanticism. Lyrically, the song can be seen as a plaintive and urgent plea to a lover to try to make their relationship work, as a charmingly flirtatious come-on to an object of affection in which the narrator is trying to get his lover to finally just be with him — and in another way, as an admission of the sort of perceived (and sometimes real) wrongdoing and misunderstandings that can break up a relationship, and the continued desire to makeup and get it right, even if just for a little while.

The retro-futuristic and charmingly playful take video-game inspired video manages to capture the spirit and tone of the song as it follows a couple, who meets cute, fall desperately and madly in love, and through chance or fate, they’re separated with the male character going through a variety of obstacles to reunite with his love. Twice within the video a timer appears to remind the video’s central character of how much time is left for the song, and during two other points, the protagonist has instruments miraculously appear that he plays — as part of the game.

New Video: Dinowalrus Returns to Pair Trippy, Psychedelic Visuals with Their Manchester-Channeling Sound

You may have become familiar with Brooklyn-based psych rock act Dinowalrus, an act that I’ve written a bit about quite a bit over the past few months. Currently comprised of frontman and guitarist Pete Feigenbaum, who has spent some time as a touring guitarist in Titus Andronicus; Max Tucker; Meaghan Omega; Dan Peskin; and John Atkinson, who joins the band as a touring member, the members of the Brooklyn-based band have developed a growing national and international profile for a sound and aesthetic that draws from post-punk, krautrock, shoegaze, synth pop and psych rock as you’ll hear off “Tides,” the first single off the band’s recently released full-length effort FAIRWEATHER. Sonically speaking, the song sounds as though the band had been listening to Join The Dots-era Toy, Primal Scream and the Manchester sound as the band pairs shimmering and undulating synths with a driving, motorik-like groove, guitar chords played through delay and other effect pedal and Feigenbaum’s plaintively cooed vocals.

The recently released video for the song is appropriately psychedelic and begins with Feigenbaum tripping on hallucinogens in a forest, when he stumbles upon four strangers, his bandmates in a variety of situations, and they unite on a singular purpose based on the fact that each of the members of this crew have a portion of a larger piece of art scrawled on their arms. And while in a cemetery, they encounter a guitar pick, which may have mystical powers. Trippy, indeed.

New Video: Introducing the Cinematic Sounds and Trippy Visuals of Sudden Beach’s “The Beast”

Sudden Beach is Guren’s solo side project of sorts and as he explained to me by email, the music he has created with the project, evokes suddenly coming upon a beach while traveling on a desert road. The project’s first single “The Beast” reminds me quite a bit of John Carpenter’s retro-futuristic soundtracks and Pink Floyd’s “On The Run” as the single consists of layers of undulating synths, cascading shimmering synths and samples of children yelling and talking.

As Guren explains of the video, “To feed the feeling of the music I’ve created, I’ve manipulated the footage taken from the cult documentary Koyaanisqatsi, the pictures of empty buildings without any human. I’ve added some sounds from the amazing Stranger Things, like human breath or playing children to this unmanned atmosphere and tried to emphasize to the past and the memory; to the life before the buildings were demolished. ”