Tag: Brooklyn Bazaar

New Video: Warbly Jets’ Propaganda-Fueled Visuals for Kasabian-like Single

With the release of their self-titled, full-length debut the Los Angeles, CA-based indie rock act Warbly Jets, comprised of Samuel Shea, Julien O’neill, and Dan Gerbang quickly emerged into the national and international scene; in fact, their critically applauded effort eventually resulted in the band opening for Liam Gallagher and making three separate world tours to support it.

After a whirlwind year, the members of the Los Angeles-based indie rock trio returned to the studio to write and record the material that would eventually comprised their self-recorded, self-produced EP Propaganda. Thematically speaking, the material explores our modern, globalized, algorithm-ruled, data-based society, where the lines between what’s public and private are frequently blurred beyond recognition and where the hive mind masquerades as marketable individualism with Big Brother being welcomed with open arms in the name of convenience. If we’re truly thinking and feeling humans, we should constantly ask ourselves a few questions: What’s real human connection? How easily are we (and our lives, ideas and souls) bought and sold? Can we cut through the fluff, noise and bullshit we’re relentlessly fed? Does anyone care anymore? Does music fit into it at all? Does music mean anything anymore? 

As the band’s multi-instrumentalist Julien O’neill says in press notes. “‘Propaganda’ is a term as much as it’s a cultural ethos that’s been widely accepted. Anything from advertisement to self-aggrandizement qualifies.From social media, push notifications, targeted ads—we’ve openly elected to carry around miniature billboards, playing our part under the promising guise of a sense of ‘connection.’ We feel empty without it.” The band’s Samuel Shea adds, “On this new collection of songs, we made an effort to set no particular stylistic boundaries. I believe it’s extremely important to make drastic differences as you transition through phases. That was something that Julien [O’neill] and I talked about from the conception of this band. I hope you always hear what you’re not expecting when you listen to a new release from us.”

Earlier this year, I wrote about EP single “Alive,” and as you may recall. the single, which was featured in the opening scene of Marvel’s Spider-Man for PS4 found the band drawing from classic rock, psych rock, and Brit Pop as it was full of enormous power chords fed through distortion pedals, rousingly anthemic hooks and pummeling drums — and the whole affair was delivered with the swaggering self-assuredness of road-tested old pros. Interestingly, EP title track “Propaganda” is a bit more of a straightforward Brit Pop-influenced affair, sounding as though it were influenced by early Kasabian with the song being centered by thundering and thumping beats, angular and propulsive bass lines, layers upon layers of synths and distorted electronics and guitars, found sounds and other samples, delivered with an arena rock swagger. 

Directed by Samuel Richard, the recently released video for “Propaganda” consists of wood and quickly edited found footage centered around pain, over-saturation, confusion and chaos, as well as propaganda footage. It’s trippy but yet feels as bizarre and as fucked up as our current sociopolitical moment. As the band’s Samuel Shea says in press nots about the video, “The era of real life human interaction is heading for a swift end. We experience life through likes, comments, and products ignoring the chaos and suffering around us. Our culture at large has been weaponized by propaganda. We exist like robots inside of a program we ourselves created.” Adds the video’s director, Samuel Richard “The idea behind the visual direction of this song is to show a side of feeling overwhelmed. There’s lots of fast changes showing pain and over-saturation. The Propaganda EP is primarily sample based, so the idea was to match the visuals to what the music is also doing. There’s lots of sample footage of propaganda and pain. I also shot super 8 footage of people on the streets of Los Angeles, showing different sides of life. My goal was to shine a light on the extreme suffering and overindulgence.”

Advertisements

New Video: ACTORS Release Eerie and Murky Visuals for “Slaves”

Vancouver, British Columbia, Canada-based post punk act ACTORS, comprised of Jason Corbett (vocals, guitar), Shannon Hemmett (synth, vocals), Jahmell Russell (bass, vocals) and Adam Fink (drums) have developed a reputation fora  modern take on post-punk that some critics have compared favorably to the likes of The Soft Moon, Cold Cave and others.

Building upon the growing buzz surrounding the Canadian post punk act, they released their full-length debut It Will Come To You earlier this year through Artifact Records, and the album’s second single  “Slaves,” may arguably be the most direct and anthemic tracks  on the album as its centered around a propulsive bass line, slashing guitar lines, shimmering synths and an infectious hook — and much like its predecessor, it’s an urgent and forceful track. 

Directed by Shannon Hemmett, the recently released video for “Slaves” is incredibly stylistic as it features grainy VHS-like footage, edited stock footage, and high definition footage of masked character in a seedy, late night parking lot, further emphasizing the murky vibes of the song. 

New Video: ADULT.’s Stark and Sensual Collaboration with Nitzer Ebb’s Douglas J McCarthy

Comprised of Detroit-based husband-and-wife multimedia artist duo Adam Lee Miller and Nicola Kuperus, ADULT. have received both national and international attention both for their music, which features elements of industrial electronica, house music and punk rock — and for their visual art, which includes sculptures, paintings, photographs, films, videos and installations; in fact, since the act’s founding back in 1998, Miller and Kuperus have strove to blur and intersect the lines between visual art and their music, exhibiting their work at the Austrian Cultural Forum (NY), Mattress Factory (Pittsburgh), Detroit Institute of Arts, MOMAS (Saitama, Japan) and Centre d’ar contemporain de Meymac (France). Their film The Three Grace(s) triptych has been shown at the Anthology Film Archives, Distrital Film Festival, Mexico City and Grey Area for Art and Technology.

The duo’s latest effort Detroit House Guests is largely based on the visual artist residency model, in which Miller and Kuperus invited a varied and impressive array of musicians and artists, including Nitzer Ebb’s Douglas J. McCarthy, Swans’ Michael Gira, Light Aslyum’s Shannon Funchess, Lichens, Austrian thereminist Dorit Chrysler and multidisciplinary artist Lun*na Menoh and others to their studio for a three week period — with the parameter that they all live, work and collaborate together to create an album that also manages to be an anthropological sound experiment.

“We Are a Mirror” is the latest single off Detroit House Guests and it finds Miller and Kuperus collaborating with Nitzer Ebb’s Douglas J. McCarthy. Featuring an glitchy and minimalist yet propulsive production consisting of subtle, industrial clang and clatter, an assortment of bleeps, blips and bloops, stuttering drum programming and club-rocking that manages to seamlessly mesh both artists’ sound while being incredibly brooding and seductive.

Directed by Hazel Hill-McCarthy III, a Los Angeles-based filmmaker, whose previous work includes a documentary featuring Throbbing Gristle’s Genesis P-Orridge, the recently released video for “We Are a Mirror” was filmed in Miller and Kuperus’ hometown of Detroit between the hours of 6pm and 6am — and it employs a relatively straightforward concept: the trio of Miller, Kuperus and McCarthy in a sparsely arranged mirrored room with a light display, broodingly posing and performing the song. And while evoking a murky nightclub, the video also feels as though it could be an fashion shoot as it possesses a grungy and glamorous quality.

New Video: Working Out with Pissed Jeans in “The Bar Is Low”

Comprised of Matt Korvette (vocals), Brad Fry (guitar), Randy Huth (bass) and Sean McGuinness (drums), the Allentown, PA-based hardcore punk/noise rock quartet Pissed Jeans can trace their origins to when the members of the band met while attending Allentown’s Nazareth High School. Bonding over their initial desire to create, as the band’s Matt Korvette has explained, “a different kind of punk focused on dead-ended carnal cravings, sexual depression . . .” and to “bludgeon the listener with dull, monotonous, droning rock music that just sucks the energy of out, the musical equivalent of watching a toilet flush.” And over the course of their 13 years together as a band, they’ve released several 7 inches and four, full-length studio albums, all which have cemented their reputation for crafting a sound that’s a sludgy, furious, and punishing cretinous, troglodyte stomp that subtly nods at The Stooges, The Ramones and 80s hardcore punk and post-hardcore bands — while evoking the deep primal urges of our reptilian sub-brains.

With the band’s recently released fifth, full-length album Why Love Now, the Allentown, PA-based band focuses on the mundane comforts and discomforts of modern life — from fetish websites to office supply deliveries; to the emptiness, confusion, dissatisfaction and convoluted nature of modern relationships and our contemporary world of hypocrisy and bullshit. As Korvette explains in press notes on the new album, “Rock bands can retreat to the safety of what rock bands usually sing about. So 60 years from now, when no one has a telephone, bands will be writing songs like, ‘I’m waiting for her to call me on my telephone.’ Kids are going to be like, ‘Grandpa, tell me, what was that?’ I’d rather not shy away from talking about the Internet or interactions in 2016.”

Why Love Now’s incendiary and furious first single “The Bar Is Low” will further cement the band’s reputation for crating sludgy and bludgeoning cretinous trogolydte stomp-like anthems in which Korvette’s guttural, Lemmy Kilmister-like growling is paired with with pummeling drumming, a throbbing and insistent bass line, and blistering guitar chords to evoke a knuckle dragging, slack-jawed Neanderthal on the hunt. According to Korvette, the song is “about how every guy seems to be revealing themselves as a shithead. It seems like every guy is getting outed,” Korvette continues, “across every board of entertainment and politics and music. There’s no guy that isn’t a total creep. You’re like, ‘No, he’s just a dude that hits on drunk girls and has sex with them when they’re asleep.’ Cool, he’s just an average shithead.” Throughout the song, Korvette and company point out that stereotypical concepts of straight male, masculinity is defeating, empty, and clownish.

Directed by Joe Stakun, the recently released video follows the members of the band at the gym; but they don’t know how to properly use any of the equipment. And while there, the band begins an absurd and ridiculous competition with other gym goers that ends up with a hilarious and horrifying conclusion.