Tag: electro pop

Video by William Ruben Helms

New Video: Rose Gray Shares Anthemic “Blink Twice”

Rising Walthamstow, UK-born dance pop artist Rose Gray has lived her life through club music — from cloakroom shifts to dance floor epiphanies. And that spirit infuses her work with hedonism, honesty and a lot of heart.

Her long-awaited full-length debut, last year’s Louder, Please, which featured “Party People,” “Free,” “Angel of Satisfaction,” “Switch” and “Wet and Wild” was released through Play It Again Sam. Praised for its breadth of collaborators, including Justin Tranter, Zhone, Sega Bodega, Ulfie and Alex Metric, Louder, Please saw the British artist channeling the chaos, catharsis and clarity of the dance floor into a kaleidoscopic vision that meshes classic pop with rave while quickly establishing her as one of the UK’s most exciting new dance artists. Along with the album, the rising British artist collaborated with Ben Hemsley on “Tidal,” Megra on “Elixir” and TSHA on “Girls.“

Adding to a breakthrough 2025, Gray opened for Charli xcx at London’s LIDO Festival. She played Glastonbury with Shygirl. She recorded a BBC Maida Vale live session. She also played her first ever UK headlining tour. She launched her own club night, Gray Selects. And she won a MTV Push Artist of 2025 Award. That summer, she played US dates with Kesha and Scissor Sisters. And she closed out the year with last October’s A Little Louder, Please, the deluxe edition of Louder, Please, which featured two previously unreleased tracks, “April” and “Lotus” and an additional disc of remixes with features from JADE, Melanie C, Shygirl and Casey MQ, as well as string versions of and club edits from Logic1000, Peach, Clementaum and Alex Chapman.

This year has seen the rising British artist build upon that momentum: Earlier this year, she played her second, sold-out North American tour, which included dates opening for Kesha and Scissor Sisters.. She recently made a run of the European festival circuit, playing sets at Primavera Sound, Boomtown and Leeds, which also included an opening slot for Lorde at All Points East. And she collaborated with Demi Lovato on “Joshua Tree.”

This past July, she released the two-track EP “Club To Your Arms“/”Just Be Bodies,” which offers a taste of what’s to come for the rising artist. And during all of this, she signed to Polydor Records.

Gray’s latest single “Blink Twice” is a rousingly anthemic, euphoric banger that’s a seamless blend of 80s and 90s dance pop, 90s Big Beat, house music and hyper pop that showcases the rising artist’s unerring knack for incredibly catchy hooks paired with earnest, lived-in lyrics, informed and influenced by her own experiences. And as a result, the song expresses a mix of awe, wonder, gratitude and luck that comes about from a whirlwind period in which hard work, dedication and moxie have finally seemed to pay off. But there’s also an awareness that even whirlwind, massive success can be fleeting.

“God, I love this song. It’s all chaos, love and emotion. I’ve been feeling so alive lately, more than ever,” Gray says. “This last year has moved so fast, and I’ve met so many incredible people along the way. Sometimes it hits me that I’m actually doing everything I ever dreamed of..touring the world, making music, playing the clubs I used to wait in line for. With all of that comes a little bit of fear too. I want it so bad, and I also don’t wanna lose it. Blink… and you might just miss it. I wanted to write a song about it.”

Paying homage to some of the classics of Gray’s upbringing, the track is also a full circle moment as it appears on the soundtrack for EA Sports 26/27. “This song reminds me of some of my favourite music I grew up on,” Gray adds. “Primal Scream, Basement Jaxx, maybe even a little bit of Britpop in its energy. I don’t really know what exact genre it is; it kinda bends between a few.”

The accompanying, stylishly shot visual for “Blink Twice” features the rising British artist in a suburban home vamping and dancing like a pop star before moving out — presumably for good.

Video by William Ruben Helms

New Video: Allegories Return with Atmospheric and Uneasy “Pure Comedy”

Canadian experimental pop duo and JOVM mainstays Allegories — childhood friends Adam Bentley and Jordan Mitchell — will be releasing their newest album, By accident, On purpose on October 16, 2026. 

The new album will include “Honestly, that’s enough honesty” “They’ll Never Suspect Us” and the album’s latest single “Pure Comedy.” “Pure Comedy” shifts through dream pop, indie rock, ambient electronic music and electro pop with settling into any easily identifiable genre or style while restlessly vacillating between optimism and pessimism, intimacy and aggression, hope and resignation. And it’s all done in a way that feels grounded in the psychological realism of a world that’s gone as mad as ours.

By accident, On purpose‘s latest single evolved alongside the album, with the JOVM mainstay outfit working on the song throughout the years-long writing and recording process. Rather than discarding each previous incarnation as the track gradually changed shape, fragments survived, leaving different eras of the song’s creation embedded within the finished track.

“This is the song that I think best represents our new album,” Allegories’ Adam Bentley explains. ” “There are elements from many different iterations of the song still in there, and sonically, it feels like it touches on the kaleidoscope of sounds and genres that the record eventually became.”

Video by William Ruben Helms

New Video: Charlotte Adigéry and Bolis Pupul Share a Shimmering, Uneasy and Confrontational Ode to Motherhood

Acclaimed Belgian duo Charlotte Adigéry & Bolis Pupul‘s latest single, the Pupul and Soulwax co-produced “GOOGOO GAGA” is the duo’s first release since 2022’s widely acclaimed full-length debut, Topical Dancer. Built around a restless, uneasy production that seemingly blends Timbaland’s classic and beloved 90s era, footwork, hyper pop and deep house featuring tweeter and woofer rattling thump and shimmering synths beneath Adigéry’s unique delivery which manages to be ironic and earnest within a turn of a phrase.

“GOOGOO GAGA” finds Adigéry giving voice to the relentless rhythms of caring for a young child: feeding and carrying, crying and sleeping, mess and repetition, guilt and uncertainty. Thematically, the song explores the largely invisible work of parenthood and of motherhood, the endless small acts of care alongside the much larger questions that accompanying them: How do you protect a child without allowing fear to dictate their life? How do you learn to be a parent while you are already parenting? And what happens to the idea that raising a child “takes a village” when so much of that responsibility is still experienced alone?

”It takes a village, and yet you’re doing it alone. This record was made as we both became parents: ‘Googoo Gaga’ is about feeling drained, the self-sacrifice, the overwhelm, yet embracing all of it,” the Belgian duo explain.

Directed by Lennert Madou, the accompanying video extends the song’s central questions of motherhood into a wider meditation of race, gender and their relationship to power — by referencing the Flemish folkloric figure De Mammelokker, a legend embedded into the folklore of the duo’s hometown of Ghent, and itself derived from the ancient story of Roman Charity. In the De Mammelokker tale, a prisoner condemned to starvation is kept alive when his daughter secretly breastfeeds him during her visits.

The video remains the tale with a Black woman (Adigéry) feeding an elderly white man, which transforms an image of nature into something uncomfortable and confrontational. In Madou and the Belgian duo’s interpretation, care is not synonymous with submission. And as a result, the video asks who is expected to nourish whom. whose labor sustains existing power structures and what happens when person who’s traditionally underestimated within that structure becomes a source of survival.

Video by William Ruben Helms

New Video: Locust Shares Yearning “Love Stays”

Mark Van Hoen is a London-born and based electronic music artist, who has written, recorded and released music with his best-known project Locust, with Autocreation and under his own name. Originally influenced by Brian Eno, Tangerine Dream and others, Van Horn’s music career started in earnest back in 1993 hen he signed with  Belgian-based label R&S. His initial releases as Locust saw him using vintage analog synthesizers and tape recorders. But as his sound moved towards an increasingly vocal orientated approach in the late 1990s, he also began releasing material under his own name. 

Van Hoen also collaborated with Slowdive’s Neil Halstead in Black Hearted Brother, a project that released their debut Stars Are Our Home in 2013. 

The London-born and-based electronic music artist’s latest Locust album. the 10-song, Spectral + was released last week through TODO Records. The album follows significant anticipation from fans of the project since Van Hoen assembled a new live band featuring musician and KCRW/NTS Radio DJ Olive Kimoto (vocals, keys), Derek Mabra (guitar) and Jaelyn Valero (drums). The Locust live band played their first shows last year, the project’s first live shows since opening for Massive Attack back in the 1990s. And since then, the project has fleshed out and road-tested the material, which would eventually comprise Spectral + – with some portions of the material developed further onstage. “We’re establishing this identity as a live band — we’ve really bonded, all really good friends, all rooting for it,” Locust creative mastermind Mark Van Hoen says. “People can see we’re a tight band, they’re not hired hands.”

The albums’s material moves between oceanic drone and pop songcraft, threading orchestral stings and understated guitars through Van Hoen’s signature synth work. The seems him working with the sound that helped create IDM in the 90s while finding new shapes to move in.  “This record contains a broad spectrum of songs that are an assimilation of my influences and my own earlier music,” Van Hoen says. ” It’s contemplative, sometimes melancholy, sometimes abrasive and pastoral.” The album’s tile reflects the sheer variation, the range of color across the album’s songs.

“Olive Kimoto (vocals, keyboards) instigated all this.,” Van Hoen says of his collaborations with Kimoto. “I was playing a solo show in September 2024, and she came to that – she had been running a club called Heaven or Los Angeles, a Cocteau Twins reference which I immediately liked. We met, and she said how much she liked my music. She did a two-hour radio special with me on my music, and we decided to collaborate.”

Spectral + includes the previously released “Long Distance Lover,” a collaboration with Slowdive‘s Neil Halstead and Natasha Morrow and the album’s latest single “Love Stays.” “Love Stays” features a seemingly Surrender-era The Chemical Brothers-like production of twinkling keys and skittering and chugging boom bap beneath guest vocalist Omotola’s soulful and yearning delivery singing lyrics about love and working things out.

The video by Locust’s Mark Van Hoen features Omotola as a spectral and technicolor siren, singing the song’s lyrics directly to the viewer.

Video by William Ruben Helms

New Video: Trentemøller and Mew’s Jonas Bjerre Team Up on Shimmering and Anthemic “Terrified”

Anders Trentemøller’s self-titled eighth Trentemøller album is slated for a November 13, 2026 release through his In My Room Records. The self-titled album’s latest single “Terrified” feat. Mew‘s Jonas Bjerre is a collaboration that finds the Danish artists crafting an anthemic bit of uplift that’s seamlessly blend of shoegaze and twinkling, hook-driven dream pop paired with stream-of-consciousness lyrics.

Throughout the song’s runtime, Bjerre sings lyrics that focus tackling the specter of fear head-on. “When the instrumental was done, I sent it to Jonas Bjerre with a few melody ideas, which he took further while adding new melodies of his own,” Trentemøller says. He then reshaped the track, explaining “‘Terrified’ is probably the poppiest song on the album. In its original form it sounded a bit more shoegazey, but I wanted it to be crisper and clearer, less washed out. So I went for synths that almost sound like human voices, with a magical, otherworldly quality to them.”

“I think sometimes when you dream about things that make you fearful and uneasy, it’s your mind trying to prepare you for any scenario, like you’re processing catastrophes that have not and may not ever happen,” Mew’s Jonas Bjerre says of the song’s themes.

Directed by Jonas Bjerre, the accompanying video for “Terrified” is a mind-bending blend of animation, live action footage and photography that turns the collaborators’ hometown of Copenhagen into a lysergic, brightly colored dream.

Video by William Ruben Helms

New Video: Black Marble Returns with Bouncy, New Order-like “It Always Comes To Me”

Singer/songwriter, multi-instrumentalist and Black Marble creative mastermind Chris Stewart will be releasing his fifth Black Marble album, Life in Small Spaces through Sacred Bones Records on Friday. The album, which is Stewart’s first full-length album since 2021’s Fast Idol, is an album of clear-eyed commentary and analysis of the music industry as a whole, a discussion of authenticity and a heartfelt letter to all the independent creatives out in the world.

“I always knew a lot of people in music struggled to make ends meet, but it surprised me to learn that the people you thought would be doing well often weren’t. For me, seeing the business from the inside like that changed how I looked at things,” Stewart says. “When I looked up to see a new artist on a billboard, I started to wonder, ‘will I one day have to pretend to be something I’m not, in order to succeed?’ The life of an artist goes on after your moment ends, you know? So who do you want to be in the end and how do you want to be seen by the people that know you? I made Life In Small Spaces while thinking about that, and for me, it serves as my own ideal for living an artistic life. I’m doing it as a vocation, not some last-ditch effort to escape to some other world. I made this record not only as a way of saying that, but as a way of saying it’s ok to feel that way. It’s ok for people to sacrifice some degree of creature comfort in order to live a life you believe in. And it doesn’t have to be an endless search for something just out of reach, it can be a permanent way of being and something that sustains you.”

Drawing from early American left-of-the-dial “college radio” staccato guitar lines and live drum samples, the album’s material sees Stewart eschewing his usual wall of synths-driven sound for a more live sound. 

The album will include the previously released “Jim Carol New Year,” and “Anything,” and its last pre-album release single “It Always Comes To Me,” “It Always Comes To Me” continues a run of decidedly upbeat, hook-driven tunes while arguably being the most New Order-like songs I’ve heard so far. The song’s narrator is a roguish sort. who seemingly can get away with things others can’t through a mix of charm and deceit. But whether or not, the narrator is having fun with it all or is complaining about how easy it all is or has even acknowledged that at some point everyone’s luck runs out is ultimately up to the listener. And on some level, the song asks the listener, “if you can get away with it, would you?”

Single Review by William Ruben Helms

New Audio: The Avalanches Team Up with Karen O on Dreamy and Forlorn “Blue Shadows”

The Avalanches — Robbie Chater, Tony Di Blasio and Andy Szekeres — are arguably one of the most influential and original acts in the contemporary scene: Their debut album, 2000’s acclaimed Since I Left You laid the groundwork for collaborative sampology in this century.

Since then, the trio have released two more acclaimed albums, 2016’s Wildflowers and 2020’s We Will Always Love You. With over 1 million albums sold and 700 million streams across DSPs, a series of coveted collectibles and legions of fans across the globe, the acclaimed act has firmly cemented their place in popular culture.

Back in 2024, The Avalanches collaborated with Jamie xx on “All You Children,” which appeared on his 2024 effort, In Waves.

The trio recently performed at this year’s Primavera Sound Barcelona and announced a run of London headlining shows as part of Pitchfork Music Fest in November. They’ll be making a run of the international festival circuit with DJ sets at Ireland’s All Together Now, France’s Freakquenices (alongside The Dare), Italy’s Poplar and C2C and Belgium’s Les Nuits Weekender — with more dates to be announced soon. Click here for tickets and more information.

Currently based in Los Angeles, Karen O is a Seoul-born, New Jersey-raised singer/songwriter and iconic front woman of the eight-time Grammy Award-nominated Yeah Yeah Yeahs. Graduating from New York University’s Tisch School of the Arts with a focus on film, she has been instrumental in redefining the possibility of rock performance over the past two decades, influencing a new generation of female artists, including Olivia Rodrigo, Japanese Breakfast, The Linda Lindas and a growing list of others.

With the Yeah Yeah Yeahs, the Seoul-born, Los Angeles-based artist has released five acclaimed albums, including 2022’s Grammy Award-nominated Cool It Down, the band’s first album after a nine-year recording hiatus.

Outside of the Yeah Yeah Yeahs, Karen O has built an adventurous multidisciplinary career spanning music, film, visual art and performance: Her solo debut, 2014’s Crush Songs was released to critical acclaim. She wrote and performed music for Spike Jonze’s 2009 film, Where the Wild Things Are and she received an Academy Award nomination for Best Original song for “The Moon Song” from Jonze’s 2013 film Her. Her experimental rock opera Stop the Virgens premiered at St. Ann’s Warehouse before touring internationally.

As a solo artist, Karen O has collaborated with an eclectic array of equally acclaimed artists including David Lynch, Trent Reznor and Atticus Ross and fashion house KENZO. 2019’s collaborative album with Danger Mouse, Lux Prima was released to widespread critical acclaim with album single “Woman” earning a Grammy Award nomination. The album also inspired the immersive multimedia installation An Encounter with Lux Prima, which premiered at Los Angeles’ Marciano Art Foundation.

Karen O and The Avalanches recently teamed up for “Blue Shadows,” the second collaboration between the two artists since “Dial D for Devotion,” which appeared on 2020’s We Will Always Love You. “Blue Shadows” is also the third single of the year from the trio, following “Every Single Weekend” feat. Jamie xx and “Together” feat. Nikki Nair, Jessy Lanza and Prentiss. With “Blue Shadows” Karen O’s achingly forlorn vocal languidly drifts atop twinkling synths, a chugging bass line, shuffling hi-hats and a dreamy vocal sample. The result is a bittersweet, fever dream of heartache, mistakes, lost chances and what-could-have-beens from the perspective of someone who has lived a messy, complicated

“’Blue Shadows’ was an idea of Andy’s that was almost lost to time until Tony stumbled across it in an old folder and began championing it as a potential album song,” says the trio’s Robbie Chater. “It’s since become one of my favourite Avalanches tunes. Many moons later and thanks to the kindness of Claudio Casalini and the estate of Celso Valli, it looked like Tony’s dream for ‘Blue Shadows’ might come true. 

“I included it in a selection of song ideas for Karen, we wanted her to hear it although I never imagined a vocal would be possible; the demo had such a peculiar, singular mood. What she recorded still amazes me after months of listening, it’s so achingly forlorn and somehow sounds as if it always existed as a song. I don’t know how that is possible, or what she was channelling, some people just have access to a higher plane I suppose!”

Karen O adds, “When Robbie sent me ‘Blue Shadows,’ I jumped at the chance to collaborate. The Avalanches last record We Will Always Love You was a gift to humanity in 2020 and I’ll count it as one of my Top 10 forever. The Avalanches frequency is high, I’m so happy to be asked to slide into it.” 

Video by William Ruben Helms

New Video: Allegories Returns with Menacing “They’ll Never Suspect Us”

Canadian experimental pop duo and JOVM mainstays Allegories — childhood friends Adam Bentley and Jordan Mitchell — will be releasing their newest album, By accident, On purpose on October 16, 2026.

The album will include the previously released, broodingly atmospheric and introspective “Honestly, that’s enough honesty” and the album’s latest single “They’ll Never Suspect Us.” Continuing with a gorgeous and broodingly atmospheric production, “They’ll Never Suspect Us” is underpinned by a gleeful and downright giddy sense of malice.

Arguably, one of their darker songs lyrically to date, “They’ll Never Suspect Us” reframe the classic murder ballad into something more detached, swaggering and unsettling with a narrator who imagines the act — and then rubs the prospective victim’s face in the fact that no one will care about their demise. It’s a song perfect for those true crime shows many of us love watching, including yours truly.

The accompanying video was shot on VHS tape and includes tape fuzz, wavering and undulating imagery and more.

singer/songwriters by William Ruben Helms

New Video: Black Marble Returns with Propulsive “Anything”

Singer/songwriter, multi-instrumentalist and Black Marble creative mastermind Chris Stewart will be releasing his fifth Black Marble album, Life in Small Spaces through Sacred Bones Records on August 21, 2026. The album, which is Stewart’s first full-length album since 2021’s Fast Idol, is an album of clear-eyed commentary and analysis of the music industry as a whole, a discussion of authenticity and a heartfelt letter to all the independent creatives out in the world.

“I always knew a lot of people in music struggled to make ends meet, but it surprised me to learn that the people you thought would be doing well often weren’t. For me, seeing the business from the inside like that changed how I looked at things,” Stewart says. “When I looked up to see a new artist on a billboard, I started to wonder, ‘will I one day have to pretend to be something I’m not, in order to succeed?’ The life of an artist goes on after your moment ends, you know? So who do you want to be in the end and how do you want to be seen by the people that know you? I made Life In Small Spaces while thinking about that, and for me, it serves as my own ideal for living an artistic life. I’m doing it as a vocation, not some last-ditch effort to escape to some other world. I made this record not only as a way of saying that, but as a way of saying it’s ok to feel that way. It’s ok for people to sacrifice some degree of creature comfort in order to live a life you believe in. And it doesn’t have to be an endless search for something just out of reach, it can be a permanent way of being and something that sustains you.”

Drawing from early American left-of-the-dial “college radio” staccato guitar lines and live drum samples, the album’s material sees Stewart eschewing his usual wall of synths-driven sound for a more live sound. 

The album will include the previously released “Jim Carol New Year,” a decidedly upbeat, 1980s New Wave-inspired track and its latest single, “Anything.” Anchored around an angular and propulsive rhythmic pulse and shimmering and squiggling bursts of guitar, “Anything” manages to channel early New Order and Q: Are We Not Men? A: We Are DEVO! and Freedom of Choice-era DEVO but instead of frustrated carnal desires, the song has a decidedly domestic bent. It’s not exactly content, but it has a sense of humor about daily annoyances and irritations of friends and loved ones, the frustrations of constant stimulation and instant gratification when it seems you can’t find either. And at its core, the song points out it’s difficult to connect with people, when most folks are lookin to bail on people for the smallest possible thing.

“‘Anything’ is basically a bedroom pop version of ‘Satisfaction’ but it trades the carnal undertones for more of a domestic pastiche. With lyrics about leaving the bedroom window open, casual druggy friends popping by at all hours and other relationship annoyances, the center of the struggle is less about finding temporary satisfaction but that today’s glut of options and opportunities gives every relationship an expiration date, every encounter an easy off ramp and every minor annoyance a reason to move on,” Black Marble’s Chris Stewart says. “The sentiment is the same from those old days, lack of fulfillment, but it’s due to modern circumstances. It feels like we have every option at our fingertips but we’re somehow losing the ability to connect.”

Directed by Scott Kiernan, the accompanying video was shot at New York’s Various/Artists and captures the song’s themes of overstimulation by featuring a rapid-fire barrage of vibrant images with a meditative and occasionally bemused Stewart flickers throughout the visual noise and chaos.

Video by William Ruben Helms

Throwback: Happy 77th Birthday, Trevor Horn!

JOVM’s William Ruben Helms celebrates Trevor Horn’s 77th birthday.

Video by William Ruben Helms

Throwback: Happy 72nd Birthday, Neil Tennant!

JOVM’s William Ruben Helms celebrates Pet Shop Boys and Electronic frontman Neil Tennant’s 72nd birthday.

Video by William Ruben Helms

New Video: Genesis Owusu Returns with Shimmering and Glitchy Surprise Single “HUMAN AGAIN”

Acclaimed multi-ARIA Award-winning Ghanian-born Canberra-based JOVM mainstay Genesis Owusu released his highly anticipated third album REDSTAR WU & THE WORLDWIDE SCOURGE earlier this year through OURNESS. 

REDSTAR WU & THE WORLDWIDE SCOURGE sees one of Australia’s most celebrated and visionary contemporary artists construct an exposed state-of-the-day record that’s experimental yet cohesive, desolate yet ecstatic, unflinching yet free. Duality is at the core of an album that sees the JOVM mainstay layering musings on an unsettled world with piercing reflections of his, and our own places within the world. Rich in lyricism and earnest in its message, REDSTAR WU & THE WORLDWIDE SCOURGE is a resolute effort that confronts a divisive era in which humanity and its institutions seem to be ripping apart at the seams and heeds a desperate need for unity. 

Sonically drawing from and meshing elements funk, neo-soul, Brit rock and alt pop the album’s overall sound feels both sprawling and deliberate. “The world hasn’t ended yet,” Owusu. says. “We’re still moving, we’re still jumping, we’re still living, and so we shall continue. Through rain, shine, exploitation and warfare. We, the people, will always stubbornly persist, and hopefully persist hand in hand.”

Today, the acclaimed JOVM mainstay shares “HUMAN AGAIN,” a surprise stand-alone single and video that comes on the heels of REDSTAR WU & THE WORLDWIDE SCOURGE and his Red Star Wu’s Pirate Radio Tour, which electrified crowds in Australia and included sold-out headline shows in London and Paris, and opening dates with IDLES. “HUMAN AGAIN exists in the same mindset as REDSTAR WU — emotionally raw and reflecting deeply on our divisive, mad times. Sonically, the new single features bubbling and warbling synth glitch and skittering beats beneath Owusu alternating between a ferocious, ODB-styled snarl for the song’s punchy verses and his imitable croon. His delivery evokes a man at conflict with himself, seeming propelled forward by the digitized world that surrounds us. And yet, the song’s narrator finds a hopeful resolve, resilience in community, and inspiration in the collective fight to hold on to our humanity.

Owusu says, “I wrote this song when I was thinking about apathy. Living in the digital age of misinformation is genuinely brain-frying sometimes. So much global gaslighting, so much to cry and scream about; it’s easier to just flip the switch off and sink into base hedonism to feel human again. But it’s really important to care. You can party too. Care about the rights and freedoms that let you party. Care about all the people around the world who wanna party just like you. Keep fighting, kicking and screaming so the party doesn’t die.”

Directed by Isaac Brown, the accompanying video is a baroque, Interview with the Vampire-styled fever dream of lust, decadence and violence that collides with modern-day European streets in a way that emphasizes the tensions at the core of the song in a visceral fashion.