Category: Video Review

New Video: Up-and-coming British Band The Orielles Poke Fun at Celebrity Culture in Visuals for “Sugar Tastes Like Salt”

Comprised of 21-year-old Sidonie B Hand-Halford, her 18-year-old sister Esmé Dee Hand-Halford and their 17-year-old best friend Henry Carlyle Wade, the Halifax, UK-based indie rock trio The Orielles have developed a reputation as one of Northern England’s “most exciting local bands of recent years” and their hometown’s best-kept musical secrets, the trio can trace their origins to when the Hand-Halford sisters met Wade at a house party and bonded over their shared love of Stateside 90s alt rock and indie rock.

With a reputation that had preceded them, Heavenly Recordings head Jeff Barrett caught the band opening for their new labelmates The Parrots in late 2016 and immediately signed them to the label. This year may be a huge year for the young British indie rockers as they played at the Heavenly Weekender Festival at Hebden Bridge last year, and they will be embarking on their first UK/EU tour next month; but in the mean time, the trio’s Heavenly Recordings debut single “Sugar Tastes Like Salt” is an expansive 8 minute track that draws influence from psych rock, New Wave and post-punk while lyrically the band makes references to several Quentin Tarantino movies including Deathproof. And the whole thing is held together by a sinuous and funky bass line that sonically reminds me of The Mallard’s incredible Finding Meaning in Deference. And much like The Mallard‘s last album, “Sugar Tastes Like Salt” possesses a surprising self-assuredness that belies their youth. It’s an impressive and forceful release that has me excited to hear more from them.

Based on a concept by the members of The Orielles, the recently released music video for “Sugar Tastes Like Salt” was filmed and edited by Josh Bentley and stars the members of the band, along with Thomas Walmsley, Sam Frost and others in what the band describes as “a tale of hedonism, glamour and deceit . . . ” And as they do so, the band poke some sadistic fun at pop culture, the adulation and pretense of fame for the sake of fame, shitty talk shows, and even themselves.

New Video: The Classic Sci-Fi and Horror Movie-Inspired Visuals for Rubblebucket’s “If U C My Enemies”

Now, if you’ve been frequenting this site throughout the course of its almost seven-year history, you’ve likely come across a number of posts on the Brooklyn-based Afro-pop/dance pop act and JOVM mainstays Rubblebucket. Currently comprised of founding duo and primary songwriters Alex Toth (trumpet, vocals, percussion), Kalmia Traver (lead vocals, tenor sax, baritone sax), Adam Dotson (trombone, vocals and percussion), David Cole (drums) and Ian Hersey (guitar), the Brooklyn-based act can actually trace their origins to when Traver and Toth met while playing in a Burlington, VT-based Latin jazz act. Quickly bonding over being horn players, a love of Afrobeat and Afro pop and an uncannily preternatural connection, the duo relocated to Boston in 2006, where they did fairly respectable things to survive — Traver spent time as a nude model for art classes, while Toth spent time hustling $50 a performance marching band gigs. And while being broke as shit in Boston, the duo began Rubblebucket.

Relocating to Brooklyn some years later, the members of the Afro pop/indie pop/dance pop act emerged into the national scene with the release of their critically applauded 2011 album Omega La La and an established reputation for a rather relentless touring schedule full of ecstatic, energetic and mischievous live sets which at various times included puppets and bandmembers jumping into the crowd and leading dance circles and dance trains with the audience. By early 2012, the band had made their first nationally televised appearance on Jimmy Kimmel Live. And over the past few years, the band has been pretty busy as they’ve released a handful of critically applauded EPs and their sophomore full-length Survival Sounds. And while their touring schedule had slowed down a bit, Toth and Traver also a brief period of time touring as backing guests for follow JOVM mainstay act Superhuman Happiness, a collaboration that goes back to when Stuart Bogie, Eric Biondo and company opened for Rubblebucket for a handful of shows up in Burlington, VT. Interestingly, during that time Rubblebucket’s recorded output has revealed a band that has gradually crafted and then cemented a signature sound while also subtly expanding upon it; in fact, on their Save Charlie EP the band retained their genre-blurring sound that possessed elements of funk, pop, psychedelia and Afrobbeat with a populist sensibility but at points you’ll hear elements of boom-bap hip hop and electro pop. But perhaps just as important, in that same period of time, Traver has slowly emerged as a frontperson.

If U C My Enemies, the band’s latest EP was released earlier this year though So Sensation Records, and from the EP’s first single “Donna” the band has further refined their sound — while they retain Traver and Toth’s enormous, swaggering horn lines, the band employed the use of swirling electronics, distorted vocal samples around Traver’s ethereal and coquettish cooing. The EP’s latest single, EP title track “If U C My Enemies” continues along a similar vein as Traver and Toth’s enormous horn lines are paired with sinuous and funky bass and guitar chords, swirling electronics, twinkling synths and a soaring, anthemic hook — and while being a bit more mid-tempo song in comparison to its preceding single, the latest single is arguably the most muscular and forceful song they’ve released to date.

Directed, shot and edited by Ian Perlman, the recently released music video for “If U C My Enemies” draws from classic sci-fi and horror films as it follows a mysterious, faceless, frightening creature of the night, who takes each band member’s soul to an alternate plane because of the time they spent staring at their phones instead of actually interacting with people. And the video ends with the members of the band goofing off, chatting and actually spending time getting to know each other — without their phones. Perhaps it’s a cautionary time for our age, huh?

New Video: Live Footage of Preservation Hall Jazz Captures the Explosive and Ebullient Energy of Their Latest Single “Santiago”

Allan Jaffe founded Preservation Hall Jazz Band in 1961 with a vital and critical mission: promoting and preserving New Orleans‘ jazz and its jazz culture with the authenticity that it deserved. And although most of the act’s first lineup is no longer with us, the act has continued on its mission with a variety of different lineups, recording over 30 studio albums, a live album, and a touring schedule that has included collaborating with a number of renowned popular acts at festivals and concerts, helping to introduce and re-popularize the New Orleans jazz sound to concertgoers and music fans across the world.

With the act celebrating its 50th anniversary earlier this decade, the milestone left its current creative director Ben Jaffe, the son of the act’s legendary and beloved founder, and its current members with a couple of deeply existential and important questions: First, how does an institution based on early 20th century musical culture survive and prosper in the early 21st century? And second, how do they do that while continuing to preserve and honor New Orleans’ musical culture and sound? Interestingly, the answer Jaffe and company came up with was that they needed to reinvent themselves and their sound by looking at the future, but with a loving and kind gaze at what inspired and influenced them, and at their previous history. Or in other words, with the band’s first 50 years being focused on the sounds and styles of the past, Jaffe and company felt it was necessary to make the institution’s next 50 years about how they can modernize without forgetting or losing the vital connection to the past.

Jaffe and the members of the band decided that the best way to look towards the future would be to write and record new, original material — including the band’s first album of originals, the boisterous and joyous That’s It!, which included album title track “That’s It,” “Dear Lord (Give Me The Strength)” and “Rattling Bones” among others. April 21, 2017 will mark the release of the Dave Sitek-produced So It Is, the septet’s second album of original material — and the album’s material finds the band mining fresh influences, including their 2015 life-changing trip to Cuba. As the band’s leader, arranger, composer and multi-instrumentalist Ben Jaffe explains in press notes, “In Cuba, all of a sudden we were face-to-face with our musical counterparts. There’s been a connection between Cuba and New Orleans since day one — we’re family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it’s part of something much bigger. It was almost like having a religious epiphany.”

Featuring compositions and songs largely penned by Jaffe and 84 year-old saxophonist and clarinetist Charlie Gabriel in collaboration with the members of the band, the material ties the New Orleans jazz sound to the larger African Diaspora, in particular with the Afro-Caribbean and Afro-Cuban sound through the common sonic and aesthetic linkages — in particular Fela Kuti, Pharaoh Sanders and John Coltrane. Of course, the material also draws from the continuing post-Katrina rebuilding of New Orleans that has forced all locally-based artists to consider what the city’s sound and culture means and should be in 2017 and onwards. And lastly, the material draws from their collaborations with the likes of Stevie Wonder, Elvis Costello, The Grateful Dead, My Morning Jacket, Arcade Fire and The Black Keys.

As I mentioned earlier, Dave Sitek was enlisted to produce So It is. Sitek, best known as a founding member of TV on the Radio and a go-to producer, who has worked with Kelis, Yeah Yeah Yeahs, Santigold and others, also offered a modern perspective and a profound respect for the band’s history. In fact, as Sitek recalls upon his arrival in New Orleans to meet Jaffe and the members of the septet, he and Jaffe had randomly stumbled into one of the second-line parades, which New Orleans has long been known for. “I was struck by the visceral energy of the live music all around, this spontaneous joy, everything so immediately,” Sitek said in press notes. “I knew I had to make sure that feeling came out of the studio. It needed to be alive. It needed to sound dangerous.”

“Santiago,” So It Is’ first single bares a clear resemblance to the material on its predecessor as it possesses a boisterous, riotous joy; but unlike any of their previously released material, the composition is a difficult to pigeonhole melange of influences and sounds that features a propulsive rhythm section that seemingly draws from Cuban son, meringue and salsa, Afrobeat, and big band jazz paired with a bold, bright, swaggering horn lines familiar to New Orleans brass band and jazz. Interestingly, the composition possesses a loose and completely improvisational feel, as the musicians in the band catch a groove and ride it; but there’s also enough room for the members of the band to play strutting and swaggering solos. Simply put the band and this particular composition radiate an indefatigable joy — and if you don’t immediately start to dance as soon as you hear it, there’s something deeply wrong with you.

Now, if you’ve been frequenting this site for a while. you’d know that I have a profound love of the New Orleans sound, have written about the legendary Preservation Jazz Hall Band and have even caught them live a couple of years back, when they stopped at Brooklyn Bowl for an incredibly fun Christmastime show. The recently released video for “Santiago” captures the band at their best — live. And it shouldn’t be surprising that the video captures the song’s explosive and swaggering energy; but it should remind you that jazz while jazz over the past 50 or 60 years has been reduced to “classy” establishments, jazz has long been the sound of rebellion, of ebullient and frenetic joy, of passionate, seductive danger.

New Video: The Kraftwerk Inspired Sounds and Trippy Visuals of Heart Years’ “The Field Trip”

Heart Years is a London, UK-based producer and electronic music artist, who has begun to receive attention for a sound that based around his love of vintage synths, tape machines and 70s electronica, and his latest single “The Field Trip” off “The Great Fades” single sounds to my ear as though it draws from Trans Europe Express and The Man Machine-era Kraftwerk as layers of shimmering and undulating arpeggio synths are paired with a motorik groove. And in similar fashion to “Trans Europe Express” “Metal on Metal” and “Abzug,” the track manages to evoke the sensation of forward movement.

The recently released video for “The Field Trip” is a fitting audio-visual collaboration between the British electronic artists and indie filmmaker Bailey. And as Bailey explains of the idea shot using Lomography’s lo-fi analog, hand cranked, LomoKino movie camera, which only produces 15 seconds of footage per 35mm roll, “The film is an abstract sci-fi where extra-terrestrial life forms represented by 3 primary colour shapes take a field trip to planet earth and observe nature, human infrastructure, behaviour and sound … before leaving unnoticed by the planet’s inhabitants.” Of course, what makes the video so fitting is that it captures the trippy nature of the song while equally evoking the sensation of movement towards something.

New Video: The Noirish and Cinematic Visuals for ACES’ Slow-Burning and Atmospheric “Baby I Don’t Mean To Ignore”

Now, if you’ve been frequenting this site for a while, you may recall that with the release of four singles over the course of 2015 and 2016 — the achingly vulnerable “What Do You Think They’ll Say About Me,” the part torch song, part wistful and tender farewell “I’m Already Gone,” the slow-burning Quiet Storm-era R&B inspired pop song “Find Me Out,” and the swooning “I Could Be Your Girl,” ACES, the recording project of Canadian-born, Brooklyn-based pop artist Alexandra Stewart, featuring contributions from Canadian-born, Brooklyn-based guitarist Russ Flynn received quite a bit of attention across the blogosphere, including this site, for an atmospheric and subtly modern take on 80s synth pop.

This year began with Stewart releasing “Just Cut It Out,” a single that appeared on the DRUG BLVD compilation, the first release from Istanbul, Turkey-based dream pop label Drug Boulevard, founded by Kubily Yigit, who has also founded renowned Turkish progressive/trance electronica label Blue Soho Records. And interestingly enough, I think that “Just Cut It Out” will cement Stewart’s growing international profile for crafting slow-burning and atmospheric pop that feature her breathy and achingly tender vocals while focusing on a narrator who’s heartbroken over a relationship that’s ended and yet doesn’t want to give it up. Stewart’s latest single, the slow-burning and aching “Baby, I Don’t Mean To Ignore” continues in a similar vein — sparse and atmospheric arrangements with swirling electronics paired with Stewart’s breathily tender vocals. And much like her preceding singles, “Baby, I Don’t Mean To Ignore,” the first official single from her soon-to-be released debut EP Stranger manages to convey a complex array of emotions — in this case a push and pull between longing and devotion, wanting to be left alone, of being hopelessly stuck in one’s own head and not quite knowing how to express themselves in a way that makes sense.

The recently released and extraordinarily noir-ish and cinematic video was created by Alex Stewart and her video team of Alex Munro and her husband Oresti Tsonopoulous. Based primarily around footage Tsonopolous and Stewart shot while on a date. As Stewart explains in press notes, the footage wasn’t even intended to be used for a music video but once she started to go through it, the concept of the video immediately came to mind. “I love the motion in driving and walking scenes and that’s where I tend to do my best thinking. The song was an idea I had about a person in their most vulnerable moment. Some time before they’re in a relationship or be before they’ve even decided what they’re going to do about their feelings. They’re really mulling things over. The video took shape from those images, and I think you get the sense that this is a girl on a mission. She’s ready to make her move.”

New Video: The Dark and Menacing Visuals for Monster Movie’s “Shouldn’t Stray from the Shadows”

Currently comprised of founding members and primary songwriters Slowdive’s Christian Savil (guitar, bass, keys, and vocals) and Sean Hewson (guitar, bass, keys, and vocals), along with Air Formation’s James Harrison (drums) and Slowdive’s Nick Chaplin (bass), shoegazer act Monster Movie can trace their origins to when Savil and Hewson played in a number of bands together, going back to the late 80s — including a band called Eternal, which released a single through Sarah Records that featured the dreamy and fuzzy guitars, and soaring pop melodies that Savil would gradually become known for; in fact, interestingly enough, Savil left Eternal to join Slowdive. About a decade later, Savil and Hewson started their side project Monster Movie with the intention of writing and recording more Krautrock-leaning material; however, their first EP wound up being much more shoegazer rock with a few seconds of something remotely Krautrock-leaning.
Now, if you had been frequenting this site over the course of this year, you may recall that I have written about Monster Movie earlier, and that between the years 2002-2010, Savil and Hewson released four, full-length albums, a mini-album and

During the period of 2002-2010, Savil and Hewson released four full-length albums, a mini album and a two EPs mostly through Graveface Records. And perhaps unsurprisingly, the band has been on an extended hiatus at Savil and Hewson have been involved with Slowdive’s reformation and subsequent touring; in fact, the duo have claimed that their involvement in Slowdive was instrumental in helping the band’s primary songwriters and founding members realize that they’ve needed to move from being a pure studio-based project to being a proper, live band.

Produced by Graveface Records’ founder and head Ryan Graveface and recorded with Martin Nichols at Weston-super-Mare, the band’s fifth album Keep The Voices Distant was released last week through Graveface Records and from the album’s first single, “Shouldn’t Stay From The Shadows,” the band further cements their long-held reputation for crafting rousingly anthemic material that walks the tightrope between fuzzy and towering shoegaze rock and power chord-heavy Brit Pop with a decidedly radio-friendly vibe. But pay close attention, as just underneath the surface, the song’s narrator describes a dysfunctional and abusive relationship — the soft of relationship in which the song’s narrator self-flaggelates himself while simultaneously abusing his partner.

Fittingly for the song’s dark overtones, the recently released video features projected imagery of someone writing the song’s lyrics while within the tub, imagery revealing the band being submerged in water.

New Video: The Surreal 120 Minutes-Inspired Visuals for Dead Leaf Echo’s Anthemic “Strawberry.Skin”

Now, if you’ve been frequenting this site throughout its almost seven years of existence, you’ve come across posts featuring the Brooklyn-based shoegazer rock and art collective Dead Leaf Echo. And over that same period of time, the members of the collective have seen a growing profile, as they’ve played at some of the country’s largest and best known festivals, have opened for a lengthy and impressive list of renowned, nationally touring bands including The Wedding Present, A Place to Bury Strangers, . . . And You Will Know Us By The Trail Of Dead, The Psychedelic Furs, Chapterhouse, Ulrich Schnauss, Weekend, Lorelei, The Ocean Blue, The Warlocks, Beach Fossils, and The Telescopes and have made appearances on KEXP‘s John in the Morning and on Nic Harcourt’s KCSN show.

With the release of 2013’s 4AD Records-inspired full-length debut effort Thought and Language and 2014’s true.deep.sleeper EP, the band quickly established themselves as one of the preeminent, contemporary shoegazer rock acts while being quite busy — last year, they quietly released a split EP with die you die, as well as a limited cassette run of the “Lemonheart”/”sparks.fly.from.a.kiss” 7 inch, which interestingly retained the well-known and beloved wall of sound and swooning urgency along the lines of RIDE, Swervedriver, The Verve and Slowdive while nodding at Primal Scream, The Jesus and Mary Chain and others.

Interestingly, the band’s latest effort Strawberry Skin was released last week through PaperCup Music and the EP found the band working with frequent collaborator and producer Monte Vallier, who has also worked with Weekend and Wax Idols — and along with Vallier, the album features contributions from Jorge Elbreht, who was a founding member of Violens and is currently working with No Joy and Ariel Pink’s backing band and Guy Fixsen, who has worked with My Bloody Valentine and Wire, among a lengthy and impressive list of artists. The EP’s latest single, EP title track “Strawberry Skin” will further cement the band’s reputation for crating shimmering and anthemic shoegaze with a swooning urgency; however, the song possesses a abrasive and muscular quality just underneath the surface — and it reveals a band subtly experimenting with their sound.

Directed by Emmanuella Zachariou, the recently released music video possesses a dream-like logic reminiscent of 120 Minutes-era MTV, complete with action going forward and in slow-motion as though the viewer is in a fever dream. The band is playing two shows to support the EP, so check out live dates below — and be on the lookout for the band’s long-anticipated sophomore effort, slated for release later this year.

New Video: Introducing the Club-Banging Sound and Trippy Visuals of Sydney’s The Goods

I’ve been in Washington D.C. for the past day and a half on a business trip related to my day job as an acquisitions editor at a SoHo, Manhattan-based publisher, and as a result I haven’t been able to post as frequently as I’d prefer; but at the same time I’ve been with two colleagues, who I met while in the Netherlands, who I’ve quickly become fond of and some extremely lovely folks in sales and marketing, some of who are based here in the States and a couple, who are based in the UK. But if you know me well enough, you know that I typically survive on 4-5 hours of sleep during the workweek and as it is I’m fitting in a post or two while my colleagues are asleep. So let’s get to the business at hand . . .

With the 2016 release of their self-titled double EP, the Sydney, Australia-based electro soul act The Goods, currently comprised of founding members, multi-instrumentalists and production duo Boris Bangaltar and Rosario D’Awesome, both of whom have toured and recorded with nationally known acts such as Touch Sensitive, Daniel Merriweather, Dereb The Ambassador and George Maple, and newest member Black Tree, who has a stint as a touring backing vocalist for Sydney-based soul singer/songwriter Ngaiire — and who started collaborating with the band on “Ninja Trolls,” the trio quickly developed a reputation for a sound that reportedly blurred the lines between disco, funk and classic house while nodding at Gorillaz and Outkast. And as a result, the then-duo received radio airplay across community radio and on Triple J. Adding to a growing profile, the act opened for Onra, Oddisee and Winston Surfsshirt.

“Make Your Move,” the first single from the newly constituted trio will further their growing reputation for a slickly produced track that sounds as though it nods to several disparate sources including DFA Records, classic house, 80s electro soul and contemporary electro soul acts inspired by the 80s, including Dam-Funk and others; in fact the track features Black Tree’s soulful and sultry vocals paired with a slick, thumping, club-banging production featuring arpeggio keys, wobbling synths, tons of cowbell, finger snap-led percussion, razor sharp yet infectious hooks and a feel, good, cosmic glow in what may arguably be one of the most dance floor friendly songs I’ve come across this year.

The recently released music video follows the trio as they wander around, and goof off around a rainy Sydney — but if you pay close attention, the trio slowly turn aspects of their world into bold, brilliant colors.

New Video: The Anthemic and Earnest Pop of Up-and-Coming Artist Lynn

Up-and-coming, 18 year-old pop artist Lynn has been singing and performing as long as she could remember; in fact, she started performing on stages by the time she was 5 and by the time she was 9, she began jotting lyrics into a notepad. As a high schooler, the young artist had a difficult time fitting in and like a lot of weird high schoolers, Lynn turned to music as an escape. “It became a habit that anytime I felt upset or mad about something that happened to me, I would just put it in a song,” the up-and-coming pop artist explains in press notes.

​Lynn’s second and latest single “Rise High” was written by the pop artist, along with producer Yoad Nevo, who has worked with Sia, Moby and Sophie Ellis-Bextor, and the while the radio friendly track draws from 90s-00s synth pop, the song pairs slightly scuzzy guitars with a rousingly anthemic hook — the sort of hook you’d expect to hear kids shouting along while in their cars. Of course, what struck me about the song is that for an 18 year old, Lynn has a self-assuredness that belies her youth — while focusing on youthful, passionate, ridiculous and complex love and obsession in a visceral and deeply personal fashion.