Category: Video Review

Video by William Ruben Helms

New Video: Tel Aviv-Born, Brooklyn-based Romi O Shares Woozy and Shapeshifting “M2M”

Deriving her stage name from her love of Shakespeare’s Romeo and Juliet, Romi O is an emerging Tel Aviv-born, Brooklyn-based singer/songwriter who has been making music as long as she can remember. Initially writing and singing songs in Hebrew, the emerging Brooklyn-based artist eventually switched to writing and singing in English. Her earliest forays into songwriting saw the Tel Aviv-born artist leaning towards bittersweet and melancholy ballads. Her struggles with her own gender identity were accompanied by insecurity, self-doubt and self-hatred, which manifested as an aversion to the genre strictures and rules she found herself in, that she saw “too sweet, too girly.”

When she turned 22, the Tel Aviv-born, Brooklyn-based artist relocated to Brooklyn, where she sought a fresh start in music: She wound up joining JOVM mainstay act Ghost Funk Orchestra, contributing her vocals to three albums — 2019’s A Song For Paul, 2020’s An Ode to Escapism and last year’s A New Kind of Love. She’s also the co-founder of PowerSnap, which sees her and her bandmates specializing in a high-octane punk and garage rock-influenced sound, informed by a desire to break the stigmas she held of herself. With PowerSnap, she desired to ditch the soft persona of a “female singer/songwriter” — and pave the way for women, who didn’t want a traditional view of femininity to be the main attraction to their work. A couple of years ago, as part of a spiritual awakening, she rediscovered her feminine side, as she witnessed her sweet and heartfelt ballads touching listeners.

Romi O will step out into the spotlight as a solo artist with her forthcoming solo debut album, which will feature material that reportedly sounds as though it were influenced by TunE yArDs, Kimbra, Charli XCX, Dead Rituals, Trent Reznor and Bjork — but while not trying to ride someone else’s wave.

The album’s second and latest single, the Daniel Bloch-produced “M2M” is a woozy and mind-bending song featuring elements of alternative pop, singer/songwriter pop and doom punk built around a hypnotic and insistent groove, skittering beats and the Tel Aviv-born, Brooklyn-based artist’s self-assured, powerhouse vocals. While revealing an artist with a playful, forward-thinking sound and approach, the song according to Romi “deals with the idea of always being ready to question life choices and decisions and approaching everything without the fear of taking things too seriously,” to not “make a mountain out of a molehill,” as the song says.

Directed by Margot Bennet, the accompanying video features Romi O in a bare studio, shot from the shoulders up. But throughout subtle details and differences in her appearance manage to reveal elements of her personality, desires and even how she expresses herself and gender.

Video by William Ruben Helms

New Video: Thunder Bae Shares Brooding and Atmospheric “Numb”

Thunder Bae is an emerging and rapidly rising singer/songwriter, multi-instrumentalist, producer and self-described “analog girl in a digital world.” Influenced by Pink Floyd, Sade, Kurt Cobain, Dire Straits, and Elton John, the rising artist aims to create a difficult to pigeonhole sound.

Her latest single, “Numb” is a slow-burning and brooding track built around atmospheric synths, a brief Dark Side of the Moon nod, a reverb-soaked beats paired with the rising pop artist’s sultry pop belter delivery and soaring, shout-along worthy hooks and choruses. Sonically, “Numb” reminds me quite a bit of JOVM mainstay ACES and others, while being rooted in lived-in, personal, yet deeply universal experience that’s lyrically captured with a disarming precision and honesty.

Written when the rising pop artist was going through a period of feeling numb, she intended to capture the essence of the experience. As Thunder Bae explains, the song carries a message “that numbness is not necessarily a good or bad feeling, since it deprives one of emotions. It’s a complex emotional state that deserves understanding and recognition.” She believes that listeners will find solace in the song, because it speaks directly to — and about — deep-seated emotions that they may be experiencing right this moment, while acknowledging that numbness is normal to feel at times. She adds that she hopes the song will empower the listener to emerge stronger from their struggles.

Directed by Agnieszka Oginski, Sönke Schmidt, and Natalie-Isabel Knopps, the accompanying video for “Numb” features the rising artist in the midst of a deep emotional and psychological struggle, helping to ground the song’s theme and lyrics in psychological realism.

Video by William Ruben Helms

New Video: MAGON Shares Lush and Introspective “Onie Was A Kid”

Over the past handful of years, I’ve spilled quite a bit of virtual ink covering the wildly prolific Israeli-born. Costa Rica-based singer/songwriter, guitarist and JOVM mainstay MAGON. 

Last year, the JOVM mainstay released his fourth album, A Night in Bethlehem, which featured three singles I wound up writing about:

  • “Halley’s Comet,” a dreamy bit of glam-like psych pop featuring glistening and reverb-drenched, post punk-inspired guitars, a simple back beat and fluttering and spacey feedback. Thematically, the song touched upon the immensity of historical and cosmic time: the narrator wonders how life and humanity will be the next time Halley’s Comet passes by our section of the cosmic neighborhood in 2061. 

  • “A Night in Bethlehem,” the album’s title track and second single, which featured a chugging, motorik groove paired with angular bursts of guitar, a razor sharp hook, intergalactic feedback and Magon’s ironically detached vocals. Thematically, the song explored the surrealist fringes of mysticism. 

  • “This Man,” another bit of glam-inspired psych featuring Ziggy Stardust-era Bowie groove paired with a steady yet propulsive backbeat, some lysergic guitar solos, a supple bass line and Magon’s imitable, ironically detached deadpan. But at its core is a narrator, who yearns for something deeper, more profound and more true in a mad, mad, mad world. 

Immediately after the release show for A Night in Bethlehem, MAGON, along with his girlfriend and daughter relocated to Costa Rica. He closed the year with “Simple Mind,” a song that saw the JOVM mainstay gently refining his sound yet again with hints of surf rock and jangle pop while retaining the hook-driven nature of his previously released material. Written during a major life transition, ‘Simple Mind” features a narrator, who’s closing a major chapter of his life — and perhaps career, as well — and is moving on to a new start, new possibilities, and new horizons.

Continuing his reputation for being wildly and restlessly prolific, MAGON’s fifth album Did You Hear The Kids? reportedly features a broader and more expansive sonic palette than ever before. The forthcoming album’s first single, the lush and laid-back “Onie Was A Kid” sounds as though it meshes elements of 60s psych rock, lo-fi singer/songwriter pop and contemporary indie rock paired with lyrics that are simultaneously auto-biographical and introspective. The song also features a guest spot from Paris-based indie duo SOS Citizen, who contribute shimmering guitar work and soaring backing vocals.

The accompanying video for “Onie Was A Kid” features some trippy animation by Hugo Tran and title cards by Titouan Pouliquen that are heavily influenced by the song’s lyrics.

Video by William Ruben Helms

New Video: Bristol’s King Heron Shares Funky and Soulful “Stasis” feat. Andrew Neil Hayes

Bristol-based jazz fusion trio King Heron — Jacob Houghton (guitar), Cerith Evans (guitar) and Cameron Macdougall (drums) — features three different and distinct musical personalties, who through a modern jazz sensibility and a focus on tight grooves, mesh disparate influences into a unique, difficult to pigeonhole style.

The trio supported their debut EP, last year’s Troika with regular shows at Bristol’s grassroots and indie venues, including Trinity Centre, Thekla, The Gallimaufry and The Jam Jar. Building upon a growing profile, the trio went on to play bars, clubs and art centers across the UK, opening for the likes of Oscar Jerome, Mdou Moctar, and Lydian Collective. They’ve also played at Bristol Harbour Festival.

The rising Bristol trio’s first single “Stasis” is the first bit of new material since the release of Troika EP — and it also marks the first in a series of singles that the band plans to release this year. Featuring a guest appearance from Andrew Neil Hayes on sax, “Stasis” is rooted in the trio’s penchant for a trippy and insistent grooves paired Hayes’ soulful horn solo in a composition that seems to draw from funk, dub and jazz fusion in a seamless fashion. While displaying the musicians dexterous musicianship, the composition also manages to display the their instinctual ability to know when to lead, when to follow and when to make space.

“It was a real honour to record with Andrew — he’s a bit of a Bristol legend and someone that I’ve looked up to for a long time,” King Heron’s Jacob Houghton says. “He came in and blew our heads off. Playing with someone of his calibre made everyone raise their game, and created a special energy in the room.”

The accompanying video captures the Bristol-based trio and Hayes in the studio performing the song. And it captures the instant simpatico held by each of the musicians in the room.

Video by William Ruben Helms

New Video: Vancouver’s FRANKIIE Shares Gorgeous “Visions”

Vancouver-based dream pop/psych pop outfit FRANKIIE — founding members Francesca Carbonneau (vocals, guitar) and Nashlyn Lloyd (vocals, synth, guitar), along with Trevor Stöddärt (drums) and Jody Glenham (bass) — can trace their origins back to 2013: The band’s first lineup, which featured Carbonneau and Lloyd with Samantha Lancaster and Zoe Fuhr, met and rehearsed for what was initially meant to be a one-off gig that December. But each of the band’s members at the time felt such an instant and undeniable creative chemistry that they decided they needed to go at it full-time. Within a relatively short period of time, they wound up touring across much of North America, including opening for The Charlatans on the East Coast.

The band’s Jason Corbett full-length debut, 2019’s Forget Your Head featured “Compare,” a lush and shimmering track with the sort of anthemic hooks that reminded me of 80s New Wave and JOVM mainstays Wax Idols.

Slated for a June 2, 2023 release through Paper Bag Records, the Vancouver-based outfit’s long awaited sophomore album, the Jason Corbett-produced Between Dreams reportedly weaves elements of reverb-soaked dream pop, vintage classic rock, bedroom psych and beachy shoegaze into a seamless soundscape meant to evoke a world in which dreams and reality are part of one continuum, where there are no borders, and magic abounds — seemingly everywhere.

Between Dreams explores our lived experiences in a world constantly shifting and twisting abruptly around us. “What is the dream and what’s reality? What’s normal anymore and does it really matter because you’re just experiencing it all anyways,” the band’s Nashlyn Lloyd says in press notes. “I think that’s all we’re trying to do: just be in this experience and embrace it fully.”

Francesca Carbonneau explains that the boundary-free feeling emerged when the band started writing thea album’s material during pandemic enforced lockdown and thereafter. “It was this weird ‘between dreams’ state because nothing was normal, or at least not how it was and we just had to carry on like everyone else,” Carbonneau says. Naturally, that influenced an overall attitude in which control and power were relinquished to some degree; whatever happened creatively would be explored. “These songs were following a sense of intuition, and not really trying to have them be anything but what instinctively came out. There was no attempt to stick to a certain genre, or take ourselves too seriously.”

Most of Between Dreams‘ material was written at the band’s dark, moldy jam space in East Vancouver, with extra pieces written at home or on writing retreats to the British Columbia’s rural areas. Some of the album’s songs were written with a rotation cast of collaborators, including previous bassist Vickie Sieczka, new bassist Jody Glenham and drummer Trevor Stöddärt, while others were written with the help of a drum machine they nicknamed “Chad.” (“Chad’s so great, he always shows up on time,” Lloyd quips.)

Eight of the album’s tracks were recorded with producer Jason Corbett at Jacknife Sound and two with Connor Head at Victoria, BC-based Catalogue Studio. As the band explains, the recording sessions were full of fresh energy and vision: Glenham and Stöddärt lent new angles to the album’s material, while the world’s standstill allowed the band the time to build out the album’s sonic world. (Lloyd had to figure out how sing while nine months pregnant.)

Jeremy Wallace Maclean, best known for his experience composing for film and TV, mixed the album, giving the material a broad, cinematic scope. For Lloyd and Carbonneau, the record marks an attainment of a sound they’ve been chasing for years. Carbonneau quotes Miles Davis: “Man, sometimes it takes a long time to sound like yourself…and this is the closest we’ve gotten so far,” she adds with a laugh.

Between Dreams‘ latest single, album opening track “Visions” is rooted in an old-school attention to craft: a laid-back Laurel Canyon/Fleetwood Mac-like groove is paired with a shimmering and breathtakingly gorgeous melody and Carbonneau and Lloyd’s soaring harmonies. The song — to me, at least — evokes a half-remembered, waking dream; the sort in which you have a lingering and unshakable sense of déja vu that you can’t put your finger on.

“‘When dreams and memories entangle with our present moment, we can begin to question our entire reality. ‘Visions’ is about that feeling, about sensing something beyond what’s happening right in front of you…as if right below the surface, anything you’ve ever lost is there; waiting for you to reach out your hand and grab it back,” FRANKIIE’s Carbonneau explains. “Like déja vu, which is something I experience frequently, a single moment can feel surreal, strange and yet strikingly familiar all at once.“

Directed by Brandon Fletcher, the accompanying video for “Visions” is fittingly a hazy and gorgeously shot, romantic dream: We see the band brooding and vamping in a suburban house at golden hour, lush superimpositions and more. The video manages to further emphasize the video’s dreamy air.

Video by William Ruben Helms

New Video: FRIDAY Shares Grunge Pop Anthem “Dear God”

Nicole Daddona is a multidisciplinary creative powerhouse:

Music has been a lifelong passion for the multidisciplinary artist. Dadonna began writing music at a very young age, and during the pandemic began remotely writing and producing original music in her bedroom with her music project FRIDAY. After relocating from Los Angeles to rural Upstate New York, she began to further hone her music skills.

Inspired by Marc Bolan, Jeff Lynne, George Harrison, and others, Daddonna specializes in hook-driven tracks with playful melodies that bring a sense of nostalgic fun to the material, while capturing different aspects of the human experience. With FRIDAY, Daddona’s music ranges from empowering dance music to emotive ballads.

Her latest single “Dear God” is a grunge pop song built around an alternating quiet-loud-quiet song structure, fuzzy power chords that starts out as a syrupy and narcotic ballad that builds up into a 120 Minutes-era MTV mosh pit friendly anthem. “‘Dear God’ is a grunge-pop song with deep emotions that delves into the themes of self-sabotage and sacrifice,” Daddona says. “It explores the concept of willingly setting oneself up for disaster, even if it causes pain, in order to protect yourself or someone else. The song acknowledges the difficulty of doing the right thing, which often requires walking away from someone or something you love and trusting the unknown. Sometimes, making a mess and looking like a fool is necessary to move forward. The lyrics read like a personal diary entry, expressing the sadness and emotional aftermath of a tough decision. My hope is that the song provides a cathartic outlet for those moments when you need to release some pent-up anger or sadness – ideally over In-N-Out Burger.”

The accompanying video by Daddona’s production company Magic Society Pictures features Daddona dressed up a a messy, tear-stained, cigarette-smoking clown that takes over an empty indoor children’s entertainment facility, playing by herself.
 

Video by William Ruben Helms

New Video: Silver Moth Shares Gorgeously Cinematic Visual for “The Eternal”

Silver Moth is new collective featuring a celebrated cast of musicians and artists, including Mogwai’s Stuart Braithwaite, singer/songwriter and electro pop artist Elisabeth Elektra, singer/songwriter and multi-instrumentalist Evi Vine, Abrasive Trees‘ Matthew Rochford, Burning House‘s Ash Babb, Steven Hill and Prosthetic Head’s Ben Roberts, who has also worked with Abrasive Trees and Evi Vine. The collective can trace its origins back to a Twitter exchange between Matthew Rochford and Elisabeth Elektra about the Isle of Lewis. A couple of Zoom meetings would subsequently lead to Rochford, Elektra, Vine, Braithwaite, Hill, Babb and Roberts visiting Black Bay Studios on the Isle of Lewis in the Outer Hebrides, a dramatic and awe-inspiring location, where they recorded the collective’s full-length debut, Black Bay. 

Slated for an April 21, 2023 release through Bella Union, Black Bay reportedly is a testament to connectivity and receptivity and captures a union of disparate minds committing to something to something greater than the sum of its individual parts. Capturing the sound of seven storied musicians yielding to shared goals, the album ranges between hushed incantations and molten guitars, 15-minute noise rock epics and healing psalms. 

Last month, I wrote about Black Bay‘s first single, “Mother Tongue,” a slow-burning and sprawling song centered around swirling shoegazer-like guitar textures, twinkling reverb-drenched keys, ethereal and plaintive vocals paired with jazz-like drumming. While sounding like a synthesis of A Storm in Heaven and Dark Side of the Moon, the band explains that  “Mother Tongue is a song about women and other marginalized people rising up in the face of oppression.”

Black Bay‘s second and latest single “The Eternal,” is a slow-burning, breathtakingly gorgeous hymn featuring shimmering and looping guitars, twinkling synths, military-like drumming, Elisabeth Elektra’s ethereal and yearning vocal paired with a soaring chorus that arches heavenward. Written by Silver Moth’s Elektra and Vine, the song is simultaneously a tribute to Elektra’s late friend Alanna, an invitation to listen deeply and carefully and a paean to female equality that’s fueled by “the need to reclaim and remember and give voice to those who are silenced,” Evi Vine explains.

Directed by Stuart Alexander, the accompanying video for “The Eternal” is a stunningly cinematic black and white visual, shot on the coast. The video tells an aching and surrealistic tale of life, death and rebirth — seen through its protagonist.

“When director Stuart Alexander and I were discussing the video for The Eternal we kept coming back to idea of the cyclical nature of life,” Silver Moth’s Elisabeth Elektra says in press notes. “When I was writing ‘The Eternal’ it was very soon after my dear friend Alanna had died. Stuart Alexander asked me a lot about Alanna, and felt he really got to know her through our conversations. He then came up with the beautiful idea of a surrealistic interpretation of someone’s life flashing before their eyes, culminating in rebirth. We were really honoured that Kate Dickie was up for playing the lead role in the video as we are all big fans of her work. Kate did an incredible job alongside several other fantastically talented Scottish actors. The weather on shoot day was typically Scottish, wild and unpleasant, but everyone was so up for it, accommodating and positive about the project and the meaning behind it. Which we are all very grateful for. Alanna loved wild and stormy beach weather so I’m certain she was there, amused by the chaos of the shoot. I hope she would have loved the resulting video as much as we do.”

Stuart Alexander adds: “It’s always hard memorializing someone in a video, especially someone as unique as I’m told Alanna was. Wherever she is, I hope she got a laugh watching us trying to film during a storm. Kate Dickie signed herself up for a gruelling shoot with heaps of curiosity and compassion for the subject matter. She’s one of the finest actors alive and a wonderful human being.”

Video by William Ruben Helms

New Video: Montréal’s Grand Public Shares Shimmering and Hazy “Goutte à Goutte”

Montréal-based indie outfit Grand Public features a collection of accomplished local musicians: The band’s frontman and founder Gregory Paquet has played with The Stills, Alvvays‘ Molly Rankin and Peter Peter. The band’s three other members are childhood friends, who have played together in several other local bands including Reviews, an act that has played with JOVM mainstays Corridor, Omni, and others. 

The members of Grand Public took advantage of pandemic enforced downtown to develop and refine their sound, and then write and record their four-song Dominic Vanchesteing-produced debut EP Idéal Tempo. Released last Friday, the EP sees the Montréal-based outfit pairing angular guitar textures, ethereal melodies and hypnotic rhythms with an explosive release of tension.

Earlier this year, I wrote about the EP’s second single “Lundi normal,” which featured reverb-drenched, angular guitar, ethereal vocals and rousingly anthemic hooks paired with a propulsive rhythm section. While sonically bringing Junior-era Corridor to mind, the song is rooted in surrealistic, seemingly stream-of-consciousness lyrics.

The recently released EP’s latest single, “Goutte à goutte” is centered around shimmering and swirling guitar textures, the Montréal-based outfit’s penchant for multi-part harmonies and propulsive rhythms. While still recalling JOVM mainstays Corridor, “Goutte á goutte” also nods at 120 Minutes-era MTV alt rock and 60s psych rock. The band explains that the EP’s producer “put a lot of emphasis on the harmonies, which add a layer of richness to the songs and color the mood of the EP. All of the songs on Ideal tempo were recorded live with the most standard rock instrumentation: two guitars, bass and drums. But we used a 12-string guitar on ‘Goutte à Goutte’ to add a touch of magic, and we really like the result — the sinuous, swirling, hazy feel that come through.

“Our director put a lot of emphasis on the harmonies, which add a layer of richness to the songs and color the mood of the EP,” explains the band. Along with the release, the band shares the music video for the album’s lead song, Goutte à goutte. “All of the songs on Ideal tempo were recorded live with the most standard rock instrumentation: two guitars, bass and drums,” the band adds. “But we used a 12-string guitar on Goutte à Goutte to add a touch of magic, and we really like the result – the sinuous, swirling, hazy feel that comes through.”

Directed by Joe Pelletier, the accompanying video for “Goutte à Goutte” is split between footage of the band playing the song in a studio, shot through fisheye lenses, and an illustrated black hole traveling through the universe, paired with lyric cards. The video emphasizes the song’s hazy feel.

Video by William Ruben Helms

New Video: Oakland’s Low Praise Shares Nervous “Forget That It’s Summer”

Oakland-based post punk trio Low Praise — Andrew (drums), Chris (guitar vocals) and Warren (baritone guitar, vocals) — have specialized in the sort of nervous energy paired and chanted hooks that bring late 70s post-punk bands like The Fall and Wire to mind.

Low Praise’s full-length debut DRESSING is slated for a May 19, 2023 release. Recorded over the course of two sessions split apart by the peak of the pandemic, the album captures the band being forced to evolve and collaborate remotely, leading to experimentation in song structure and their overall sound. When the band was able to reconvene, they were able to reimagine the material in a stripped down, live band format. The end result reportedly sees the band writing material that’s their most diverse and wide-reaching while touching upon the anxiety and helplessly they individually and collectively felt during the pandemic.

“Forget That It’s Summer,” DRESSING‘s latest single is built around a looping, angular and reverb-drenched guitar attack and a nervous, motorik groove paired with chanted hooks. Sure it’ll bring Wire, The Fall and even Blessing to mind, but it also manages to evoke an eerily familiar existential dread and despair.

“‘Forget That It’s Summer’ was the first song we wrote together during the Covid depths, during our shared peak fear, anxiety and loneliness,” Low Praise’s Warren says in press notes. “As a band that had always jammed stuff out in person and worked off that energy this song was originally composed through chopping up loops, file sharing and experimentation. We actually built a complete version of this song as a weird loop construct with a ton of layers, mostly as a way to still make something, anything together during that self-imposed separation. We then reconstructed it as a stripped down live band version once we could finally get together again. So I think you kind of still hear that in the song that it was born from a pretty different process.

Thematically, this was a period where I think we were all mega-bumming and at the same time getting the immense appreciation and perspective for all of the little things you take for granted in normal life that we all lost access to during that period. Just being able to see your friends, make music together, have physical contact with the people you love. It was a period of forced reflection and forced appreciation. All put to a dance groove for some reason.”

Directed and edited by Gregory Downing, the accompanying video for “Forget That It’s Summer” is centered around stock footage of summery scenes and old school projector cues cut and edited in a way that pulsates along with the song’s nervous groove.
 

Video by William Ruben Helms

New Video: audran Shares Another Banger

Audran Cattin is a French actor, best known for being in the series, Les Bracelets Rouges. His first starring role in a movie with Kad Merad, Clovis Cormillac and Isabelle Carré is forthcoming. But in the meantime, Cattin is also a musician and emcee, who writes, records and performs as audran. 

The Franch actor and musician’s debut EP EMOJI was released earlier this month. The EP which features “Plastiq” with Oscar Lesage structurally and thematically tells an eight part story — a sort of auditory short film — that follows a young person, who asks himself existential questions throughout the course of a night.

The EP’s latest single “ABCD” is built around a looping acoustic guitar line paired with skittering boom bap and Cattin’s self-assured yet easy-going flow. Much like the EP’s preceding single, “ABCD” continues a run of material that sounds indebted to  Ligne Quartre‘s Arret Demande.

The accompanying video follows the French actor and musician throughout Paris shamelessly promoting and selling a CD. We gotta do what we gotta do, right?

Video by William Ruben Helms

New Video: Noble Rot (METZ’s Alex Edkins and Holy Fuck’s Graham Walsh) Return with Propulsive and Trippy “Medicine”

Noble Rot is a new collaborative studio project, featuring METZ‘s and Weird Nightmare’s Alex Edkins and Holy Fuck‘s Graham Walsh. The project can trace its origins back to 2011: Walsh was enlisted to produce METZ’s 2012 self-titled full-length debut. And since then, the pair have remained in a state of creative orbit. 

The duo’s full-length debut Heavenly Bodies, Repetition, Control saw its official release today through Joyful Noise. The album sees Edkins and Walsh joyously stepping outside and beyond the lines drawn by their previous work — with the album’s material being the culmination of a year’s worth of feverish studio experimentation influenced by film soundtracks, komische muzik, experimental noise, ambient, psychedelia, and more.

While their distinct musical sensibilities remain intact, Noble Rot provides the duo with a new vehicle for pushing their boundaries of sonic exploration. The album’s material will reward the listener with a songs filled to the brim with unbridled curiosity and boundless excitement — with the hopes that it’ll surprise and thrill both longtime fans and periphery lurkers alike. 

Last month, I wrote about “Casting No Light,” a densely layered soundscape featuring glistening and wobbling synths, hypnotic bass lines, spiraling and looping guitar lines, and motorik rhythms are paired with chanted mantra-like vocals. While effortlessly and seamlessly meshing the long-held creative instincts of its individual creators, “Casting No Light” is underpinned by a mischievous, almost childlike sense of adventure and an irresistible groove. And adding to the collaborative nature of the project, Wire‘s and Immersion‘s Colin Newman and Minimal Compact‘s and Immersion’s Malka Spigel lend a hand, contributing bass and heavily modulated guitars to the song’s motorik pulse — before closing out with bongo drums and howling synths. 

Heavenly Bodies, Repetition, Control‘s second and latest single “Medicine” may arguably be the album’s funkiest single. It’s built around a forceful motorik groove, skittering four-on-the-floor paired with off-kilter percussion, industrial screech, squeak and skronk and heavily distorted vocals buried in the mix. Much like its immediate predecessor, the song is rooted in a mischievous, childlike sense of experimentation that sees is collaborators adventurously pushing each other into a wild and trippy new direction.

Continuing an ongoing collaboration with John Smith, the accompanying video for “Medicine” featuring floating pills of varying sizes floating and undulating to the song’s motorik-meets-industrial pulse.

Heavenly Bodies, Reputation, Control is included in Joyful Noise’s The White Label Series. Currently in its sixth year, The White Label Series taps influential curators and creatives to shine a light on a previously unreleased album of their choice. This year’s list of curators is equally impressive as it includes Julian Baker, Sean Ono Lennon, Helado Negro, The Jesus Lizard‘s David Yow, Speedy Ortiz‘s Sadie Dupuis and No Joy‘s Jasmine White-Gluz, who chose Noble Rot’s debut for the series. 

“Graham Walsh and Alex Edkin’s new musical partnership captures what I love most about their other musical endeavors (Holy Fuck, Metz); expansive production, musical moments of anxiety and calmness, unexpected earworms,” White-Gluz says of choice. “I love records like this that make me go ‘how did they make that sound?!’ and relisten to a song over and over.“

Video by William Ruben Helms

New Video: Gal Pal Shares Swooning “Angel In The Flesh”

Rising Los Angeles-based trio Gal Pal — Emelia Austin (she/her), Shayna Hahn (she/her) and Nico Romero (he/him) — can trace their origins back to a serendipitous meeting in college: The members of the band lived in the same dorm and on the same floor. Each member was drawn to to other by a sense of shared ambition and a desire to play music in a way that felt nonjudgmental and generative. Their initial collaborations were improvisatory, long-winded and playful — and featured recently purchased equipment, including a drum kit no one yet knew how to play. “We were learning our instruments together,” Gal Pal’s Nico Romero says. “The project started from wanting to learn how to play an write songs with other people.” 

Earlier this year, the trio released “Mirror,” track that was written from an altered creative process — perhaps born out of necessity: Austin, Hahn and Romero experimented with writing in isolation, crafting songs with lyrics on their own before bringing them to the group. Featuring production assistance from Danny Noguieras and Sami Perez, the new single is also a bold step forward sonically for the band: Centered around an intricate, looping guitar riff, skittering drum patterns paired with Austin’s plaintive wailing “Mirror” is a shoegazey take on post punk that evokes both the sensation of being hopelessly stuck in a repetitive, dysfunctional pattern — and the slow-burning sense of dread, because there’s the acknowledgement of being stuck, and not knowing how to get out of a hellish loop. 

Gal Pal’s Emelia Austin explained that the song ““formed from Nico playing cyclical guitar riffs over and over again. It helped me form the theme of being stuck in a pattern. I then wrote lyrics that were cut-off sentences, repeating again and again to express that feeling. For me, ‘Mirror’ is about the ways we allow our identities to be misshaped by people in our lives, how we are used as reflections for others, and the anxiety over being able to control it or not.” 

Today, the rising Los Angeles-based trio announced that their new album This and Other Gestures is slated for a June 2, 2023 release. Marking their first album in six years, This and Other Gestures sees the trio now in their mid-20s and working through gender dysphoria, personal loss and the power and confusion of young adulthood. “These songs are very personal to us,” Gal Pal’s Austin explains. “We’re telling stories about different things — life, death, love, grief — all these things we’re going through and growing out of. These songs are about us processing change. Is it good, is it bad? We’re grieving, we’re celebrating.”

The album’s latest single “Angel In The Flesh” is a rousingly anthemic and swooning song that sonically is one part 120 Minutes-era MTV alt rock and late ’90s-early ’00s pop punk/emo built around buzzing power chords, thunderous drumming. enormous shout-along worthy hooks and choruses, paired with heart-worn-on-sleeve lyricism. Ultimately, the song is a sweet declaration of love, full of the sort of bravery, vulnerability and longing that’s free of the cynicism and despair of bitter experience.

“I grew up listening to a lot of pop punk and emo bands,” Gal Pal’s Nic Romero says in press notes. “I was a big fan of labels like Fueled By Ramen and Decaydance as a kid. I think this song definitely comes from that background a bit. It’s easy for me to want to sing about crushes and longing because it’s a fun feeling to indulge in and romanticize, even when it hurts.” 

Directed by Ashley Kron, the accompanying video for “Angel In The Flesh” sees the band playing a dysfunctional TV sitcom family that manages to forget their dog’s birthday. The dog decides to run away — but bonds with his family when they attack a mailman to prove their love.

Video by William Ruben Helms

New Video: Easy Star All-Stars Team up with Steel Pulse on a Soulful Rendition of Bowie’s “Five Years”

Continuing their run of reggae tribute albums across classic rock, dub, indie rock and pop, the acclaimed local reggae outfit will tackle David Bowie‘s beloved classic, 1972’s The Rise and Fall of Ziggy Stardust and The Spiders From Mars. Slated for an April 21, 2023 release through their own Easy Star Records, Ziggy Stardub is a reggae re-imagining of the beloved album, featuring guest spots from Macy Gray, Steel Pulse, Maxi Priest, Fishbone, Living Colour‘s Vernon Reid, The Skints, Mortimer, The Expanders, Samory I, and a lengthy list of others. 

Pre-order packages of the album are available here, including royal blue colored vinyl along with CD and exclusive t-shirt offerings.

Earlier this month, I wrote about two of the album’s previously released singles:

  • “Starman,” featuring Maxi Preist. The Easy Star All-Star rendition is a warm and soulful dub take on the original that retains the rousingly anthemic hook everyone and their grandmother knows but places it within a shuffling, reggae riddim paired with warm blasts of Rhodes, some cinematic strings and Maxi Priest’s effortlessly soulful delivery. 

  • “Moonage Daydream,” featuring Naomi Cowan and the legendary Alex Lifeson. The Easy Star All-Star rendition  “Moonage Daydream” is a hazy dub-leaning take that makes loving nods to the original, with a full string seciton and a flute solo from Jenny Hill, that takes the place of Bowie’s recorder solo from the original. Cowan contributes a soulful, rock goddess vocal that I’d argue would make both Bowie and Tina Turner very proud. The song closes out with a trippy and inspired David Gilmour-like guitar solo from the legendary Lifeson. 

Ziggy Stardub‘s third and latest single “Five Years” features the legendary Steel Pulse. Rooted in a soulful and slow-burning reggae riddim, the Easy Star All-Stars rendition lovingly retains the soaring string-driven hooks and choruses, and the weary, apocalyptic sigh-like vibe of the original.

Directed by Robert Bartolome, the accompanying video portrays the end of the world — and its eventual rebirth — on a miniature scale. It’s a gorgeous and unsettling reminder of the fate that we’re marching lockstep towards, and of the fact that nature will eventually reclaim everything once we’re all gone.

Continuing their long-held tradition of playing on April 20 — 4/20 y’all! — the acclaimed reggae outfit will be playing an album release show at Sony Hall. 

Video by William Ruben Helms

New Video: Copenhagen’s Chopper Shares Dance floor Friendly Banger “Springtime”

Jonatan K. Magnussen is a singer/songwriter and musician, best known for being the frontman of Copenhagen-based goth outfit The Love Coffin. Magnussen recently stepped into the spotlight as a solo artist with his solo project Chopper. Chopper specializes in what Magnussen has dubbed “shock pop,” a sound that draws from Eurodance, glam rock, industrial, disco and B horror movies.

Magnussen’s upcoming Chopper effort Shock Pop Vol. 1 reportedly sees the Danish artist continuing to explore inherent dualities of the human condition while touching upon love, sexuality and carefree joy. Sonically, the album’s material is influenced by Pet Shop Boys, Skinny Puppy and Underworld — but re-contextualized in a modern context.

Shock Pop Vol. 1‘s latest single. “Springtime” is a sleazy, dance floor friendly banger built around Magnussen’s sultrily delivered cooing, shimmering guitars, industrial clang and clatter, glistening synths and enormous, crowd pleasing hooks. The end result is a song — that to my ears — brings Electronic, New Order and Ministry to mind, while rooted in sleek, hyper modern production and razor sharp hooks. But underneath the dance floor rocking grooves, is something far darker and menacing. Written during the pandemic winter, the song illuminates the feelings of longing and isolation — capturing the desire to be out among friends, to meet lovers, to just do things with anyone.

Shot with VHS tape fuzz and hiss, the accompanying video is a trippy and noir-ish journey through the late night underworld and the cosmos that pulsates in time to the song.

Video by William Ruben Helms

New Video: JAIN Shares Earnest and Cinematic “The Fool”

French-born international pop sensation JAIN exploded into the national and international scene with her full-length debut, Zanaka, which sold over one million copies globally. Her sophomore album 2018s Souldier, topped the charts in her native France, thanks to the success of hit single “Makeba” which led to her first Grammy nomination for Best Music Video — and to Rolling Stone naming her an “Artist You Need To Know,” writing that the “French singer mixes pop, Afrobeat and more influences in a winning combination.”


Building upon a growing profile, the French pop start has played over 300 shows in 15 countries across the European Union, North America, South America and Asia, as well as the rounds of the global festival circuit with sets at Coachella and Lollapalooza. She has also performed on The Late Show with Stephen Colbert, Later . . . with Jools Holland, the 2018 Ryder Cup and the 2019 FIFA Women’s World Cup.

Her highly-anticipated third album The Fool is slated for an April 21, 2023 release through Columbia/Sony Music France. The album is reportedly a new chapter for the French pop sensation both musically and personally. Thematically, the album chronicles the stages one goes through when making a fresh start — fear, excitement, innocence, self-doubt/doubt, letting go, epiphany and more. While her previously released work meshed a myriad of genres, styles and instrumentation including Arabic percussion. African rhythms. electro pop, reggae, soul and hip-hop, The Fool draws heavily on influences like Kate Bush and Stevie Nicks.

JAIN also relies heavily on Tarot de Marseilles, one of the oldest and most popular tarot decks created — and an art her mother passed on to her. According to the French pop artist, tarot gives her the strength to jump into the unknown through an instinctive perception of the world’s dangers and possibilities.

The Fool‘s first single, album title track “The Fool” is a decidedly 80s pop-inspired song centered around a lush and almost painterly production featuring finger plucked strummed guitar, glistening synth oscillations, thumping beats paired with soaring strings and rousingly anthemic hooks. JAIN’s self-assured and gorgeous, pop star vocal is at the forefront of the mix, singing lyrics that reference The Fool card in the tarot. And as result, the song takes on a brave and hopeful look at the future, seeing it as the sort of grand adventure the you want to go on with a loved one, while sounding a

Directed by Jules Jolly, the video follows the French pop star on an incredible adventure through the universe and into the future. Visually, the video manages to bring fond memories of The Little Prince.