Tag: Arctic Monkeys

New Video: JOVM Mainstay Alison Mosshart Releases a Film Noir-ish Black and White Visual for Atmospheric “It Ain’t Water”

Alison Mosshart is a Vero Beach, FL-born, Nashville-based singer/songwriter best known as one-half of the acclaimed indie rock act JOVM mainstays The Kills — and for being the frontwoman of the indie rock/blues punk supergroup The Dead Weather. Over the past decade or so, Mosshart has been restlessly creative: her painting has been show in galleries across the world and she has published her first book, CAR MA, a collection of her art, photography and writing that serves as a love letter to all things automobile. In that same period of time, Mosshart has become a go-to collaborator, adding that extra dash of swaggering badassery, working with her Dead Weather bandmate Jack White, Arctic Monkeys, Primal Scream, Gang of Four, Cage The Elephant, Foo Fighters, James Williamson and Mini Mansions in a rapidly growing list.

2020 will continue a period of remarkably creative prolificacy for Mosshart: Currently, Mosshart and her bandmate Jamie Hince are working on the next Kills record, which they hope to be able to bring to the road — pandemic willing, of course. This year will also see Mosshart stepping out into the spotlight as a solo artist, releasing material under her name for the first time in her career. Although, releasing music under her own name is a completely new and thrilling experience, the album’s material can be traced back to unreleased material Mosshart had been compiling for the better part of the past decade. Now, as you may recall, last month, I wrote about her debut single, the  Lawrence Rothman-produced “Rise.” Initially tracing its origins to a song sketch that Mosshart wrote in 2013, the song is a slow-burning and searing blues with brooding and ominous undertones centered around thumping beats, fuzzy power chords, Mosshart’s imitable vocals and an enormous, arena rock friendly hook. 

Mosshart’s second and latest single is the atmospheric and brooding, Alain Johannes-produced and recorded “It Ain’t Water.” Centered around a sparse arrangement of shimmering acoustic guitars, strings and gently padded drums, the song manages to bring PJ Harvey, Nick Cave, and JOVM mainstay Mark Lanegan to mind. Although the song was written late last year, Mosshart had been sitting on the track for some time — with the acclaimed signer/songwriter guitarist turning to the then-unfinished track whenever she found herself battling a bout of writer’s block. 

“Working with Alain on ”It Ain’t Water’ was a blast. He’s such a talent and such a kind person,” the JOVM mainstay says of working with Alain Johannes. “His mind is wide open. He understands and sees the beauty in imperfection, magic moments, accidents- the soulful human stuff, and the spirited super-human hard to explain stuff that makes a song great. Working with him was an honor, and also, hot damn he can play any instrument like a champ . .  . like he invented the instrument himself. Alain Johannes IS music.” 

Directed, edited and shot by Mosshart, the recently released video continues a run of decidedly DIY visuals — but unlike its predecessor, its shot in an aptly film noir-like black and white and evokes our pandemic-influenced isolation, as we see the acclaimed Kills and Dead Weather frontwoman in her own home, expressively dancing in the background while we see a superimposed image of a sunglasses wearing Mossheart singing the song. 

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New Video: Alison Mosshart’s Self-Directed and Edited Visual for Ominous Solo Debut “Rise”

Alison Mosshart is a Vero Beach, FL-born, Nashville-based singer/songwriter a best known as one-half of the acclaimed indie rock act JOVM mainstays The Kills and for being the frontwoman of the indie rock/blues punk supergroup The Dead Weather. Interestingly, over the past decade or so, Mosshart has developed a reputation for being restlessly creative: she has had paintings shown in galleries across the world and she recently published her first book CAR MA, a collection of her art, photography and writing that serves as a love letter to all things automobile. Additionally, Mosshart has developed a reputation for being a go-to collaborator for that added dash of badassery, working with her Dead Weather bandmate Jack White, Arctic Monkeys, Primal Scream, Gang of Four, Cage The Elephant, Foo Fighters, James Williamson and Mini Mansions in a rapidly growing list. 

2020 will continue a period of remarkably creative prolificacy for Mosshart: Currently, Mosshart and her bandmate Jamie Hince are working on the next Kills record, which they hope to be able to bring to the road — pandemic willing, of course. Interestingly, this year also see Mosshart stepping out into the spotlight as a solo artist, releasing material under her name for the first time in her career. And although for Mosshart, releasing music under her own name is a new and thrilling experience, it’s a process that can be traced back more than a decade with Mosshart compiling a trove of unreleased material. Her debut single, the Lawrence Rothman-produced “Rise” can trace its origins back to 2013 when she first wrote the initial sketch of the song.  The end result is a slow-burning and searing blues with brooding and ominous undertones centered around thumping beats, fuzzy power chords, Mosshart’s imitable vocals and a soaring hook. 

“I didn’t ever forget it,” Mosshart recalls. “I remember right where I was when I wrote it, sitting at my desk in London, missing someone badly. Interestingly, when the Sacred Lies team reached out to the Kills and Dead Weather frontwoman about doing a signature song for the song, she knew “Rise” had the right sort of vibe for the show. Interestingly, “Rise” is prominently featured in the final episode of  the FacebookWatch drama Sacred Lies with the song serving as a major plot point within the series’ story. 

Much like everyone else across the world, Mosshart is hunkered down in her Nashville home and she’s used this period of social distancing and quarantine to teach herself video editing. Shot, edited and directed by Mosshart, the recently released video for “Rise” is comprised of footage from a recent trip she took to Los Angeles with most of it centered around capturing lowrider culture. 

New Video: Aussie Punk Trio The Chats Release a Mischievous Visual for Mosh Pit Ripper “The Clap”

Coolum, Australia-based punk trio The Chats — Eamon Sandwith (vocals, bass), Josh Price  (guitar, vocals) and Matt Boggis (drums) — can trace its origins back to when its members started the band in their friend’s bong shed back in 2016, when the band’s members were still in high school. 2017 saw the release of their debut EP, Get This In Ya, which the band recorded in four hours. The following year,  the band quickly rose to national and international attention with the release of “Smoko” and its accompanying video. Dave Grohl loved the video for “Smoko” so much that he wound up showing it to Josh Homme, who then asked the Aussie punk trio to open for Queens of the Stone Age during their Australian tour that year.

The Chats also won the attention of the legendary Iggy Pop, who asked the band to open for him during his Australian tour last year. (Reportedly, he peppered the band with questions like “What’s a smoko?” and “What’s a dart?”) Adding to a momentous year, the band toured across Australia, the UK and their first Stateside shows — with their Los Angeles show being attended by Home, Grohl and Arctic Monkeys’ frontman Alex Turner. They closed out last year with a return UK tour, selling out London’s O2 Forum. 

Understandably, the past couple of years have been a whirlwind for the rapidly rising Aussie punk trio: the band has spent that time balancing touring, writing songs and whenever their gigs took them to Victoria, stopping by engineer Billy Gardner’s Geelong-based studio to recording the material they had written. And as a result, it took the band 18 months to record their highly-anticipated full-length debut High Risk Behaviour, which is slated for a March 27, 2020 release through the band’s own Bargain Bin Records/Cooking Vinyl Australia. “If we’d just done a week and slogged it out we could have had an album before now but we just kept going in there and making newer and better songs so it’s hard to put a stop on it,” the band’s Sandwith says in press notes. “Some of the songs were first-take and we were like, ‘That’s good, whatever’ We’re really not perfectionists.” (Interestingly, although, the band found themselves in the middle of a bidding war between a couple of major labels, they were determined to continue to do everything their own way, steadfastly maintaining the DIY ethos they started with.) 

The Aussie punk act’s full-length debut, derives its title from personal experience: the band’s Matt Boggis has routinely been hassled by local police for skating in places he shouldn’t be — and he’d frequently get tickets listening the offense as “High Risk Behaviour.” The album’s 14 songs clock in at a total of 28 minutes with about half of its songs not even reaching the two-minute mark. ““I don’t want to make the songs boring, so I just keep them short and sweet,” Sandwith says of their creative process. “We try not to think about it or complicate it too much. You don’t want to force it or the song’s going to turn out crap.” Reportedly, the end result features  material that’s centered around a three-chords-is-probably-one-too-many approach, Sandwith’s partially spoken, partially  sung vocals while displaying youthful exuberance and drunken rowdiness. (Yes, in some way, FIDLAR does come to mind — but Aussies are crazier.) “I think they’re good songs,” says Sandwith. “And at the end of the day, if I like it then fuck it, who cares if other people do?”

Clocking in at a little over two minutes, High Risk Behaviour’s latest single “The Clap” is a cretinous bit of punk rock, centered around scuzzy power chords, shouted call and response vocals and a mosh pit friendly hook that makes the band — and in turn, the song  — sound indebted to to ’77 era punk, complete with a snotty, zero fucks given air. Featuring the band’s Josh Price taking on vocal duties, the song is a mosh pit friendly ripper that’s partially a cautionary tale about a sexual encounter gone very wrong and a sexually transmitted infection that’s painful and just doesn’t seem to leave. 

Directed by Matt Weston, the recently released video for “The Clap” finds the band’s Price heading to the clinic in severe pain. Of course, while trying to get treatment, the doctors are completely disgusted by Price’s condition. But they find the time to treat him — in a  way that seems painful, repulsive and absurd. Much like the song itself, the video is fucking hilarious. 

New Video: Acclaimed Indie Supergroup Mini Mansions Release a Glittering Disco-Tinged Visual for “GummyBear”

Comprised of Michael Shuman, Zach Dawes and Tyler Parkford, the Los Angeles-based indie rock supergroup Mini Mansions features a collection of highly acclaimed musicians, as the side project features members of Queens of the Stone Age, Arctic Monkeys and The Last Shadow Puppets. Tracing their origins to when Queens of the Stone Age went on a hiatus in 2009, the trio of Shuman, Dawes and Parkford have released three EPs and two full-length albums —  2009’s self-titled and self-released EP,  2010’s self-titled full-length, 2012’s . . . Besides . . ., 2015’s The Great Pretenders and 2018’s Works Every Time EP all of which have established them for a sound that has been compared favorably by critics and fans to the likes of The Beatles, Elliot Smith, and Fountains of Wayne among others. 

Slated for a July 26, 2019 release through Fiction Records, the Shuman and Cian Riordan co-produced third album, Guy Walks Into A Bar finds Shuman relinquishing his drummer role to fully focus on vocals and lyrics with his Queens of the Stone Age bandmate Jon Theodore taking up drumming duties for the album. Interestingly, the album reportedly features some of Shuman’s most self-reflective and honest work he’s written, as the album’s lyrics are informed by a whirlwind relationship that he began with his ex-fiancee, who he met during a night out at a bar — with the album detailing aeach stage of the relationship from the beginning in which you’ve connected with someone and think they’re attractive and interested to falling in love to dramatically falling out of love. And the material may also arguably be he most pop leaning and sleekest material they’ve written to date. 

Interestingly, Guy Walks Into A Bar’s latest single is the slinky, dance floor friendly synth pop jam “GummyBear,” a track that sounds indebted to 80s synth funk and Giorgio Moroder-era disco and LCD Soundsystem, as the track is centered around shimmering and arpeggiated synths, a sinuous bass line and some complex polyrhythm. The recently released Liam Lynch-directed video further emphasizes the dance floor vibes, as it features a shit ton of neon and glitter drenched visuals. As Shuman remarks on the video ” We made a video for new single ‘GummyBear’ with our friend and comedic legend, Liam Lynch. Inspired by Saturday Night Fever and the classic videos of the early 2000’s, we created some serious visual eye candy for a song that sonically tastes the same. Pun intended.”

Liam Lynch says in press notes, “I’ve known Mike Shuman for over ten years, through my work with Queens of the Stone Age. When he asked me if I’d do a video for Mini Mansions, I was happy to do so. To me, this song really straddles being sort of 70’s and 80’s at the same time. I kept coming back to this BeeGee’s feeling but it was more like a realm in between. This got me thinking about the gateway door on the album cover and maybe that was a doorway to this in-between realm. So this video is a collage and mish-mash of elements but they sort of come together in their bar, disco, neon, and city lights to support the vibe.”

New Video: JOVM Mainstays White Lies Release Anthemic New Single Paired with Gorgeous and Cinematic Visuals

London-based indie trio White Lies’s aptly titled, fifth, full-length album Five is slated for a February 1, 2019 release through [PIAS] Recordings, and while marking the trio’s tenth anniversary together, the album reportedly finds the British pop trio pushing their sound in new and adventurous directions paired with arguably some of the most deeply personal and intimate lyrics of the band’s entire catalog. Unlike its predecessors, the writing and recording process was Transatlantic, and included a trip to Los Angeles, where they worked on new material with Ed Bueller, who produced the band’s chart-topping debut To Lose My Life and their third album Big TV. Throughout the process, the band enlisted past associates and collaborators to assist on the proceedings including engineer James Brown, who has worked with Arctic Monkeys and Foo Fighters; the renowned producer Flood, who contributes synths and keys on a couple of tracks; and Grammy Award-winning Alan Moulder, who has worked with Smashing Pumpkins, Nine Inch Nails and The Killers to mix the album.

Now, as you may recall, the Snow Patrol-like album single “Time to Give,” was an ambitious song that clocked in at a little over 7 and a half minutes, and was centered around a lush yet moody arrangement of shimmering synths, a propulsive motorik groove, Harry McVeigh’s sonorous baritone and an arena rock-friendly hook — but underneath the enormous hooks was a song that focuses on a dysfunctional and abusive relationship from a real and lived-in place. In fact, the song feels so lived-in that it bristles with the bitterness and hurt that comes from being in a relationship in which you’ve left broken, fucked up and confused. “Believe It,” continued in a similar vein as its immediate predecessor as it’s full of enormous, arena rock friendly hooks while bearing a resemblance to Pet Shop Boys, Tears for Fears, Jef Barbara and Joy Division/New Order.

“Tokyo,” Five’s latest single continues a run of rousingly anthemic singles centered around enormous hooks, arpeggiated synths, razor sharp grooves and McVeigh’s inimitable vocals. And while the song reminds me of Tears For Fears’ “Shout,” “Change” and “Everybody Wants to Rule The World,” the song will remind the listener, that the British trio have an unerring and uncanny ability to write a triumphant, arena rock-like song. 

The recently released, gorgeously shot video for “Tokyo” was directed by long-time visual collaborator David Pablos and was shot back-to-back with the video for previously released single “Believe It,” in Tijuana, Mexico late last year. As the band explains in press notes “Once again we were lucky to work with David in Tijuana to create what is our best video since ‘Death’. His unique knowledge of the area affording us access into some of the city’s most stunning and bizarre locations helps bring to life his vision of stories of love and loss. Where in the world would you be able to film a scene of the band sat on a 4-story high nude woman? Tijuana, that’s where apparently and resulted in our favourite collaboration with him yet.”

Pablos adds  “As soon as I heard the song I knew I wanted to shoot the video during night time. Everything starts with us seeing scenes of life through windows from the outside, but once we go inside we discover nothing is exactly what it looks like or what it appears to be. Each window is a metaphor; more than a real space it is a representation of a mental state. But more than portraying the city, what was important was the human face and to capture the personalities of each one of the characters.”

New Audio: Acclaimed British Act White Lines Release an Earnest Power Ballad

Five, the acclaimed London-based indie trio White Lies’s forthcoming, fifth full-length album is slated for a February 1, 2019 release through [PIAS] Recordings, and the album marks their tenth anniversary together — and instead of resting on their laurels, the members of the trio decided that it was the perfect time to push their sound and aesthetic in new and adventurous directions. Along with that, the trio’s bassist and primary lyricist Charles Cave wrote what may arguably be the most deeply personal and intimate lyrics of the band’s entire catalog. 

Unlike its predecessors, the writing and recording process was Transatlantic, and included a trip to Los Angeles, where they worked on new material with Ed Bueller, who produced the band’s chart-topping debut To Lose My Life and their third album Big TV. Throughout the process, the band enlisted past associates and collaborators to assist on the proceedings including engineer James Brown, who has worked with Arctic Monkeys and Foo Fighters; the renowned producer Flood, who contributes synths and keys on a couple of tracks; and Grammy Award-winning Alan Moulder, who has worked with Smashing PumpkinsNine Inch Nails and The Killers to mix the album.

Now, as you may recall, the Snow Patrol-like album single “Time to Give,” was an ambitious song that clocked in at a little over 7 and a half minutes, and was centered around a lush yet moody arrangement of shimmering synths, a propulsive motorik groove, Harry McVeigh’s sonorous baritone and an arena rock-friendly hook — but underneath the enormous hooks was a song that focuses on a dysfunctional and abusive relationship from a real and lived-in place; so real, that the song bristles with the bitterness, confusion and hurt that comes from being in a relationship that leaves you fucked up and broken. Believe It” continued in a similar vein as its immediate predecessor  — full of the enormous, arena rock friendly hooks that have won them acclaim; but sonically speaking, it manages to bear a resemblance to Pet Shop Boys, Tears for FearsJef Barbara and Joy Division/New Order, as the song is centered around big power chords, shimmering and twinkling synths, a forcefully propulsive rhythm section and McVeigh’s baritone.

“Finish Line,” Five‘s latest single is a slow-burning, power ballad featuring an ambitious and expansive song structure with the song moving from Roxy Music-like atmospherics to big power ballad and arena rock-friendly hooks bolstered by powerfully earnest sentiment. But at its core, the song is about a young couple’s breakup negotiations, complete with bitter accusations and recriminations, regret, heartache and uncertainty. Interestingly, the song is a band favorite and as the band’s Charles Cave mentions in press notes. We are all hugely attached to this song, and really excited to share it prior to the album being released. Much like album-opener ‘Time To Give’, the track has an ambitious structure – one emanating from our love of Prog. At its heart, it’s a simple song about a young couple’s break-up negotiations, I like to hope the music itself takes the listener through the emotional ups and downs. It’s up there as one our best songs and we hope our fans think so too

New Audio: London’s White Lies Returns with a Rousingly Anthemic Single from Their Forthcoming New Album

Five, the acclaimed London-based indie trio White Lies’s forthcoming, fifth full-length album is slated for a February 1, 2019 release through [PIAS] Recordings, and the album marks the band’s tenth anniversary while finding them pushing their sound and aesthetic in new and adventurous directions, paired with deeply personal and intimate lyrics written by the trio’s Charles Cave. Unlike its predecessors, the writing and recording process was Transatlantic, and included a trip to Los Angeles, where they worked on new material with Ed Bueller, who produced the band’s chart-topping debut To Lose My Life and their third album Big TV. Throughout the process, the band enlisted past associates and collaborators to assist on the proceedings including engineer James Brown, who has worked with Arctic Monkeysand Foo Fighters; the renowned producer Flood, who contributes synths and keys on a couple of tracks; and Grammy Award-winning Alan Moulder, who has worked with Smashing Pumpkins, Nine Inch Nails and The Killers to mix the album.

Now, as you may recall, the Snow Patrol-like album single “Time to Give,” was an ambitious song that clocked in at a little over 7 and a half minutes, and was centered around a lush yet moody arrangement of shimmering synths, a propulsive motorik groove, Harry McVeigh’s sonorous baritone and an arena rock-friendly hook — but underneath the enormous hooks was a song that focuses on a dysfunctional and abusive relationship from a real and lived-in place; so real, that the song bristles with the bitterness, confusion and hurt that comes from being in a relationship that leaves you fucked up and broken. Five’s latest single “Believe It” continues in a similar vein as its immediate predecessor as it’s full of enormous, arena rock friendly hooks — but it manages to bear a resemblance to Pet Shop Boys, Tears for Fears, Jef Barbara and Joy Division/New Order, as the song is centered around big power chords, shimmering and twinkling synths, a forcefully propulsive rhythm section and McVeigh’s baritone. 

Interestingly, as the band explains, the song is “about types of therapy, seen from a shifting perceptive of those passionate towards it, those skeptical of it, and those out to make money from it. We wrote it mid-way through the sessions and it became an instant favourite of ours. It’s a four-minute ‘no-nonsense’ singalong with lots of ingredients we’ve used before so we hope our fans will love it.” 

New Audio: London’s White Lies Releases a Moody and Epic New Single from Forthcoming Album

Slated for a February 1, 2019 release through [PIAS] Recordings, the acclaimed London-based indie trio White Lies, comprised of Harry McVeigh (lead vocals, guitar), Charles Cave (bass, backing vocals) and Jack Lawrence-Brown (drums) will be marking their tenth anniversary as a band — and interestingly, the album reportedly finds the band pushing their sound and aesthetic in new directions with the addition of personal, and at times deeply intimate lyrics written by the band’s Charles Cave. Unlike the preceding albums, the writing and recording process was a Transatlantic one that included a trip to Los Angeles, where they worked on new material with Ed Bueller, who produced the band’s chart-topping debut To Lose My Life and their third album Big TV. Throughout the process, the band enlisted past associates and collaborators to assist on the proceedings including engineer James Brown, who has worked with Arctic Monkeys and Foo Fighters; the renowned producer Flood, who contributes synths and keys on a couple of tracks; and Grammy Award-winning Alan Moulder, who has worked with Smashing Pumpkins, Nine Inch Nails and The Killers to mix the album. 

Clocking in at a little over 7 and a half minutes, the album’s latest single “Time to Give” may arguably be among the most ambitious songs the band has released, as the track is centered around a lush yet moody arrangement of shimmering synths, a sinuous bass line that’s part of a propulsive, motorik groove and soaring, arena rock-friendly hooks paired with McVeigh’s sonorous baritone. And while nodding a bit at Snow Patrol and others, the song seems to focus on a dysfunctional and abusive relationship from a real an lived-in place; in fact, it’s so real that as a result, the song bristles with bitterness, confusion and hurt. 

New Video: Introducing the Garage Rock Sounds of Up-and-Coming Californian Act Clean Spill

Comprised of Pat Curren (vocals, guitar), Charlie Fawcett (drums), Cameron Crabtree (guitar) and Geoff Shea (bass), the Santa Monica, CA-based indie rock quintet Clean Spill can take their origins to when Curren met Fawcett when they were ten year olds participating in a local surfing competition. Curren met Crabree while in high school and Shea, was a local barber, who was into the same music as the rest of the band’s members. As Crabtree recalls, “I decided to get a haircut from him and talk to him over the haircut about [playing with us]. If he would have farmed the haircut, we wouldn’t have given him the position. But it was a great haircut, so it worked out.”

Back in 2014 Fawcett leveraged some connections at surf company Hurley to assist the members of the band with studio time to record an album worth of demos that they dubbed Dear, Anger — and interestingly enough, what was initially meant to be a jam session quickly became their first professionally engineered and mixed EP, 2015’s XO, an effort that found the band’s sound and aesthetic centered around surfing and boogie boarding culture; however, as they played more shows, including playing with Kitten and touring France with Betty the Shark, which featured Curren’s half sister, the up-and-coming band discovered themselves, while realizing a desire to push their sound and approach towards the garage rock-inspired sounds of early period The Strokes and Arctic Monkeys, as well as The Growlers and The Allah Las. Simultaneously, the band was picking up lessons and advice from their tour mates abut the gear they needed to make the sound they wanted, as well as the hustle they needed to make a name for themselves. “All these artists were so hard working, knew exactly what it took for sound,” Crabtree explains in press notes. “We didn’t really know much about music gear in general. We’ve played with such a wide variety of bands, we gained such a unique perspective on fans of music, too, in that it was very rewarding to see that people still liked rock music in general.”

After collaborating with a series of different producers, their manager hooked them up with producer Hanni El Khatib. And as the story goes, back in 2016, the members of the band entered Jonny Bell’s Jazzcats Studio with the intention of recording a new single, and were instantly taken by the amount and variety of vintage gear in the studio. Experimenting with gear they never dreamt of using, and guided by El Khatib and Bell. the band began refining and honing the sound that they felt they were mean tot have. “Hanni’s style has a lot of radical, outrageous noise,” Pat Curren says in press notes. “We went a little bit down that way.” Throughout the recording sessions, the band wanted their recorded sound to hew close to their live sound, so they recorded the material live to tape, which gives the material a “you-are-there-in-the-room” immediacy. The end result became their soon-to-be-released EP Nothing’s on My Mind, an effort that features “Rolling,” a song that Curren and Crabtree wrote several years before — with a slightly different, more upbeat arrangement centered around shimmering guitar chords and a propulsive backbeat; but ironically, the song’s emotional center is the heartbreak over the confusing and bitter ending of a romantic relationship. Sonically, the song manages to be anachronistic — it’s indebted to the 60s, the 00s and this decade simultaneously, and in a way that brings Raccoon Fighter and others to mind.

Once they finished the EP, the band began to tour to support it until Shea broke his arm, which slowed down the momentum they had built up and without a record and a tour, they were in a hiatus; however, they decided to take control of their own destiny and they will be self-releasing the EP two years after its completion. “I think this will actually be the start of us hustling,” Crabtree says, noting the band has written multiple albums worth of music in the downtime. “Because we went through all that, we learned so much. Once this comes out we’re going to be on fire. Recording, shows — everything.”

The recently released video follows a young, extremely Californian couple that features the band’s frontman in a series of flashbacks — first when they’re adorable and through a series of bitter fighting, with footage of the band performing the song in a prototypical Californian background split the band brooding and goofing off throughout, creating a fitting balance between the heartache and breezy vibes within the song.