If you had been frequenting this site earlier this year, you may have come across a post on Vienna, Austria-based quartet Hearts Hearts. Comprised of David Österle, Daniel Hämmerle, Johannes Mandorfer and Peter Paul Aufreiter, the Austrian quintet have developed a reputation for crafting brooding, slow-burning and elegiac music consisting of elements of classical music and electro pop in a way that channels Sigur Ros, Flying Lotus, The Darcys and Radiohead, as you would have heard on the haunting first single “I Am In” off their debut effort, Young, an effort that focuses on tension and release — in the sense of someone desperate to break through and out of the familiar and debilitating patterns of their life. As the band’s frontman David Österle explained in press notes for the album’s first single, “Our lives are so over-defined and over-structured (that) we are measuring and weighing and then cutting off what’s undefined. And in reaction to all this, we are seeking spaces of temporary escape.”
“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.”