Category: Video Review

New Video: Montreal Pysch Rock Supergroup Releases a Trippy Visual for Lysergic Debut Single

Deriving their name from a song by French songwriter Jacques Dutronc, written to mock the pricks swarming his flowerbeds, Hippie Hourrah is a new Montreal-based psych rock project seemingly inspired by that song’s spirit, featuring three of the city’s most accomplished musicians — Les Marinellis’ Cédric Marinelli, Elephant Stone’s Miles Dupire-Gagnon and Elephant Stone’s, Anemone’s and The Besnard Lakes’ Gabriel Lambert.

“Fantôme” is the band’s debut single — and the first single off the band’s forthcoming full-length debut, slated for a June 2021 through Simone Records. Centered around a hypnotic groove featuring shimmering sitar, gently buzzing synths, wah wah pedaled guitar and propulsive polyrhythm, the song possesses the sort of hazily lysergic air and mind expanding vibes that will remind listeners of the late 60s.

Directed by Joey Desjardins, the recently released, gorgeous video for “Fantôme” follows a woman, who through meditation opens her third eye, revealing the mysteries of the universe. “When I met Cédric Marinelli, he showed me the medal hanging from his neck” Joey Desjardins recalls. “It had a sun with an eye in the center of it. Cedric told me that each member of the band wears one, and they really enjoy this type of occult imagery. I really like these kinds of esoteric knick-knacks, which is reflected in the tone of the video. Since I loved the song and had wanted to create a psychedelic ghost tale for a while, there was a click. Gabriel Favreau (the animator and editor of the video) and I were really on the same page, which allowed us to quickly construct this spectral, hallucinatory journey.”

New Video: Rising British Act Someone/Anyone Releases a Brooding and Cinematic Visual for “Less Life”

Someone/Anyone — Harry Osbourne (songwriter, vocalist and production), Poppy Prescott (vocals), Dan McConkey (saxophone) and a rotating cast of talented, local players — is an emerging Hastings, East Sussex, UK-based act that pairs organic instrumentation with electronic production — meshing art pop, alt pop, jazz and rock into a seamless whole. And since their formation, they’ve opened for the likes of Rat Boy and Kid Kapichi.

The rising British act’s latest single “Less Life” is a strutting bit of Brand New Heavies-like soul centered around Prescott’s gorgeous and effortlessly soulful vocals, shimmering guitars, a sinuous bass line, boom bap-like beats, brooding strings and McConkey’s expressive sax solo. But at the core of the song is a familiar, aching a longing to continue a relationship that’s seemingly on the brink.

The recently released video is shot in a cinematic black and white off the English coast but splits off to follow a man wandering around in a lovestruck daze.

New Video: Berlin-based DJ and Producer Dan Curtin Releases a Trippy Visual for Hypnotic “Soul System”

American-born, Berlin-based producer and DJ Dan Curtin released his latest effort Soul System EP through Sound of Berlin earlier this year. Meshing elements of several different electronic music genres and sub-genres, ranging from house, funk, […]

New Video: The Murlocs Release a Feel-Good 80s Inspired Ode to Ambrose Kenny-Smith’s Mom

The Murlocs  — King Gizzard and the Lizard Wizard’s Ambrose Kenny-Smith and Cook Craig with Cal Shortal, Matt Mlach and Tim Karmouche — have released four albums of fuzzy and distorted psychedelic blues that the band has supported both as an opener for the likes of Gary Clark, Jr., Mac DeMarco, Ty Segall, Thee Oh Sees, Pixies, Stephen Malkmus and The Jicks, Wavves and of course, Kenny-Smith’s and Craig’s primary gig,. King Gizzard and the Lizard Wizard and as a headliner.

The Aussie psych blues outfit’s fifth album. the Tim Dunn-produced Bittersweet Demons is slated for a June 25, 2021 release through their longtime label home ATO Records. Recorded at Button Pushers Studio, the 11-song album finds the band lovingly reflecting on the people, who have left a profound imprint on their lives, the saviors, the hell racists and other assorted mystifying characters. Arguably, the most personal and complex batch of material they’ve written to date, the album reportedly finds the band bouncing around and between sunny pop, blues punk and wide-eyed psychedelia informed by John Lennon’s Plastic Ono Band and Harry Nilsson’s Lennon-produced Pussy Cats.

Bittersweet Demons first single “Francesca” was written by the band’s Tim Karmouche — and sonically, finds the band crafting a rousingly upbeat, hook-driven ripper that subtly adds a New Wave polish to the fuzzy psych rock barnburners that have won them national and international attention. To my ears, the members of The Murlocs have managed to write a road trip anthem that’s arena rock friendly. “The song is about my mother, and show she had been lost for love since the separation from my father, when I was, 10,” Kenny-Smith explains in press notes. “In the last year and a half or so, she’s found love again, with a very close family friend of ours, someone, who has always been a godfather and mentor to me in many ways. This has changed her spirit immensely for the better. You can really see the pop in her step as this enormous weight has been lifted off her shoulders.”

Kenny-Smith mentions that some of his favorite songs are odes to impressive women — i.e. Van Morrison’s “Gloria” — and says, “Francesca is my mother’s middle name and I’ve always loved it so much.” The Murlocs frontman adds “It’s probably the most positive, feel-good song we’ve ever done. It’s also the closest we’ve ever come to having an 80’s phase.”

Directed by Alex Mclaren, the recently released video for “Francesca” was shot last April. Melbourne was coming out of its first pandemic-related lockdown and restrictions were eased for a short period of time. The band and director quickly jumped on the opportunity to shoot while they had the chance, presumably recognizing that they may not get another chance. And for such an 80’s-like anthem, the video features the titular Francesca, Kenny-Smith and the band driving around in a convertible and rocking out, as well as 80’s computerized graphics and fade outs. The car footage was shot on Melbourne’s Ivanhoe Blvd., near where Kenny-Smith’s mom grew up. That part of the footage was informed by the video for Randy Newman’s “I Love LA.”

New Video: Hungarian Electro Pop Duo Paperdeer Releases a Trippy and Symbolic Visual for “Regularity”

Rising Budapest-based electronic music production and artist duo Paperdeer — Benjámin Kiss and Norbert Biró — will be releasing a new album later this year, written and recorded during pandemic-related restrictions and lockdowns.

Earlier this year, the duo dropped a taste of the new album with “Fortress.” Featuring longtime collaborator, Hungarian pop artist Böbe Szécsi, “Fortress” is a sleek and slickly produced track centered around arpeggiated and twinkling synths, atmospheric electronics, skittering beats, a soaring hook and Szécsi’s plaintive vocals. And although the song is bracingly chilly, it’s rooted in the tense uncertainty of our moment as it evokes a pent-up frustration and desperation for necessary change — right now.

The Hungarian electro pop duo’s latest single “Regularity” is a collaboration with ALUMNA centered around looping acoustic guitar, skittering beats, brooding and atmospheric electronics and ALUMNA’s achingly tender vocals. The song’s narrator initially celebrates regularity and predictable routine — but slowly and shakily begins to realize a desire to break out from the security of their mundane routines. Sonically, the song builds up from a melancholic dream to a feverish and pent-up distraction and frustration of someone desperate to break free. “We tried to illustrate the duality of perceptions between young and older generations that is musically accompanied by heavy bassline, agile guitars, and ALUMNA’s fragile voice, which builds from a dream-like melancholy into the feeling of insanity,” the members of Paperdeer explain. ‘The song was inspired by the rigid flip side of the Scandinavian comfort, and an idea of everyday life in a utopic [sic] environment.

Directed by lyricist and longtime collaborator Márton István Szabó, the highly symbolic and trippy visual for “Regularity” employs a carefully picked color platte — deep greens, earthy browns, dark grays — and follows a young boy and a middle-aged man, being chased by wolves in the forest. As the duo explain of the video treatment “‘Regularity’ aims to put you in the perspective of a man, who is bound to his safety and comfort, while feeling an increasing desire to experience danger and excitement, and to live by his heart. The middle-aged man (played by Sándor Tóth) is the soberness that tries to fight against your instincts and drag you back home. Lyricist Márton István Szabó interpreted the concept of the song as “a warning that we tend to grow lazy into our relationships and we almost cage ourselves to the familiarity.” He thinks that the song is also an invitation ‘to roam free, find ways out, to nature, to the conscious rediscovery of ourselves and the world around us.'”

New Video: Saskatoon’s Slow Down Molasses Releases a Hilariously Absurd Visual for “120 Minutes”-like “Street Haunting”

Led by Tyson McShane, the Saskatoon-based indie rock act Slow Down Molasses have developed a reputation for a constantly evolving sound as a result of a series of lineup changes and for an anxious and frenetic live show, which they’ve taken around the world in support of 2016’s 100% Sunshine.

The band’s latest single “Street Haunting” is the first bit of new material from the band since the release of 100% Sunshine and the new single manages to further cement the band’s reputation for an ever-changing sound Featuring angular and propulsive rhythms, explosive power chords, tons of feedback and fuzz and a supple bass line, “Street Haunting” brings 120 Minutes-era MTV to mind — in particular, Pavement and Sonic Youth with some sprinklings of Gang of Four. And as a result, the song is underpinned by a throbbing anxious energy. “Musically, we were excited to capture some the anxious energy of our live show, while still keeping the song very focused,” the band’s Tyson McShane says. “It nicely rides a line between the concise garage pop that some of us love and the feedback drenched chaos that our live shows tend to dwell in.”

The song’s punchily delivered lyrics draw some inspiration from Virgnia Woolf’s essay of the same name. “Lyrically the song ruminates on the casual, but oft-underappreciated beauty of the urban environment and the predictability of a person’s daily tasks,” the band’s McShane explained. “Taking  some inspiration from Virginia Woolf’s essay of the same name and mixing that with the sense of isolated other-ness that comes from living in a city far from the world’s major cultural cities.  A place sometimes overflowing with creative energy, but where it often necessary to remind oneself of the casual brilliance of one’s peers and the places we typically tend to haunt.”

Directed by Aaron Scholz, the recently released video features the band’s members wearing raccoon masks while performing routine human activities, like going through their record collection and shaving and typical raccoon activities, like rooting through garbage, scratching at doors and exploring abandoned, suburban homes. They also manage to play music. The video makes the mundane seem absurd and ridiculous.

New Video: Montreal’s Paupière Releases a Trippy “Groundhog’s Day”-like Visual for Infectious and Breezy “Coeur monarque”

With the release of 2016’s Jeunes instants EP, 2017’s full-length debut À jamais privé de réponses and 2019’s Jettatura EP, the rising Montreal-based indie electro pop duo Paupiére, visual artist Julia Daigle and Polipe’s and We Are Wolves‘ Pierre-Luc Bégin, established their sound, a sound that meshes elements of 80s English synth pop and New Wave — i.e., The Human League, Depeche Mode and others — with French chanson. But just under the breezy pop melodies and catchy hooks, the duo’s work thematically touches upon naive, adolescent and hedonistic romanticism and a contemporary disenchantment. 

Slated for a May 7, 2021 release, the duo’s sophomore album Sade Sati continues their ongoing successful collaboration with We Are Wolves’ Vincent Levesque, who produced their previously released work. Album single “Coeur Monarque” is an infectious and sugary sweet pop confection centered around shimmering synth arpeggios, skittering polyrhythmic beats and boy-girl harmonies. Sonically, the song is a playful, hook-driven mix of Phil Spector-era pop and Ace of Base-like synth pop — but thematically, as the duo explain the song is much darker: “‘Coeur Monarque’ is an imaginary tale about a girl, who lives her life according to her moods. Her freedom contributes to her isolation and she loses herself in it. ‘Coeur monarque’ is a light and poppy piece, just like the protagonist of the story.

Directed by Kevan Funk, the recently released video for “Coeur Monarque” follows a a brash and very stylish woman, who’s caught in a Groundhog’s Day-like loop in which she endlessly repeats the same actions in generally the same fashion with minor — yet very important — differences: the seasons change, which require different outfits and outerwear and a few times the time of day changes. What we wind up encountering is this protagonist preparing for a night out with her usual rituals: making sure her makeup and outfits are just right, smoking a cigarette and/or pre-gaming with a quickly gulped glass of wine or a can of beer. Sometimes a friend stops by to hang out or to pick her up; but generally, she seems to be on her own and heading to meet someone. Much of the behavior is escapist and destructive without much rhyme or reason, except maybe boredom. “We really liked the idea of ​​being caught in a time loop, reliving that same routine over and over again,” the video’s director Kevan Funk says of the new video. “The idea was to focus on the cycle of a festive lifestyle, which in some way drives away the alluring fantasy that we often imagine. Evocative of a life synonymous with the monotonous and destructive treadmill on which our main character sits. “

New Video: French Act Full Moon Little House Releases a Lysergic Visual for Atmospheric “GAIA”

After spending several years in a number of alternative rock and indie rock bands, French multi-instrumentalist and producer, Kévin Navizet steps out into the limelight as a solo artist, with his solo recording project Full Moon Little House, which specializes in what he describes as alternative indie rock/post rock.

Earlier this year, Navizet released the first part of his full-length debut, a five-song, mini digital album titled June — before releasing the full album later this year. Clocking in at a little over 5:50, Navizet’s sixth Full Moon Little House single “GAIA” is a slow-burning track feauring layers of jangling, shimmering and pedal effected guitars, towering feedback and rolling drumming that slowly builds up in intensity before gently fading out. The song’s patient, painterly quality reminds me quite a bit of Mogwai, Remember Remember and others while being remarkably cinematic.

Navizet’s gorgeous self-directed and self- made video features animation of translucent jellyfish seemingly dancing to the song in the deepest darks of the ocean. Through doubling and tripling the jellyfish, the video takes on a hallucinogenic and kaleidoscopic vibe.

New Video: Ben Rice Longs for The Old New York in “Everything Changes”

Ben Rice is an accomplished singer/songwriter, guitarist and producer and owner of Brooklyn-based DeGraw Sound. As a producer and session guitarist, Rice has worked with the likes of Norah Jones, Jonas Brothers, Valerie June, Fletcher and The Skins. As a guitarist, Rice has played in couple of indie rock projects that signed with Warner Music Group and toured internationally with Arctic Monkeys, Band of Skulls, The Bravery and Brendan Benson.

Rice’s self-produced, self-engineered and self-mixed, full-length debut Future Pretend was written and recorded at his DeGraw Studio during the terrifying and deadly first wave of the COVID-19 pandemic and the sociopolitical upheaval of that year. The album which features contributions from the likes of producer Gian Stone, who has worked with Justin Bieber and Maroon 5; Norah Jones’ and Mavis Staples’ Pete Remm (keys); The Autumn Defense’s and Norah Jones’ Greg Wieczorek (drums); Raffaella’s and Leyla Blue’s Charlie Culbert (drums, production) and Eighty Ninety’s Abner James and Harper James is a personal and artistic reset for Rice, who saw Future Pretend’s creative process as an opportunity to process seismic life changes and connect with our tumultuous present. Featuring nine reflective songs that thematically finds Rice offering intimate and personal ruminations on culture, our society and personal evolution. Sonically, the album finds the Brooklyn-based singer/songwriter, guitarist, producer and engineer embracing what he dubs “big city Americana,” which isn’t really about cowboy shirts, boots and twangy guitars but about yearning for a halcyon days.

Future Perfect’s latest single, the Damn the Torpedoes-era Tom Petty-like “Everything Changes” is centered around shimmering synth arpeggios, twangy guitars an anthemic hook and the sort of Romantic yearning for the past that New Yorkers are known for. The song finds Rice’s narrator lamenting about the passing of time and the inevitability of aging while shouting out beloved places and a long lost innocence. Certainly, as a 40 something, who finds his city phasing him out while losing the places I loved, the song hits me in a deeply personal and familiar place. As James Murphy once sardonically yet wisely sung “New York, I love you but you’re bringing me down . . .”

“I wrote ‘Everything Changes’about watching the city I grew up in change and realIzing that every generation of New Yorkers has probably experienced something similar,” Rice explains. “The things that to me feel like authentic aspects of the city that are now slipping away might have felt like the strange and new things that ushered in change to previous generations.”

Directed by Abner James, the recently released video for “Everything Changes” is split between footage of Rice and his backing band performing the song in a backlit studio and James Spenser Saunders, who plays a young New Yorker, walking the streets of the Lower East Side and stopping at some of the places Rice references in the song. Shot during the pandemic, the video captures New York at its eeriest with beloved bars, clubs and eateries closed or barely opened. The video captures a city going through some incredibly unforeseen and unimaginable changes, the seemingly unending sense of unease and uncertainty of our world and a palpable loss of innocence.

New VIdeo: Paris’ Fleur bleu.e Releases a Lo-Fi and Trippy Visual for Shimmering “STOLT 89”

Deriving their name from a French expression that gently mocks sappy lovers, the Paris-based indie rock duo Fleur bleu.e — Delphine and Vladimir — features two accomplished musicians, who have been performing and writing music since they were both children: Vladimir was a guitarist in French garage rock band Brats, an act that recorded and released a Yarol Popouard-produced album that was supported with touring across France with BB Brunes. Delphine began playing cello in classical orchestras before learning guitar and playing at alternative festivals across Paris with her first band Le Studio Jaune.

When the duo met in 2019, they bonded over a mutual love of The Smiths, Beach House, Françoise Hardy and Elli et Jacno among others, and a desire to craft music that was emotionally ambiguous while being fueled by their teenage myths. Seemingly influenced by dramas and nightmares, their artistic vision is to go beyond the prism of the gender binary and call upon the listener to express their fragility, celebrating one’s inner world and the beauty in imperfections.

They released their critically applauded single “Horizon” late last year and building upon a buzz worthy profile in their native France, the duo released their Ben Etter-produced second single “STOLT 89” earlier this month. Centered around shimmering and reverb-drenched guitars, propulsive yet simple backbeat and Delphine’s gorgeous vocals, the song sonically — to my ears, at least — brings Bloom-era Beach House to mind while being an emotionally ambiguous feminist manifesto. 

The recently released video for “STOLT 89” employs a decidedly DIY aesthetic that features the duo goofing off in front of a green screen — and throughout, the video has a blown-out, fuzzy quality reminiscent of public access TV