Tag: Fleetwood Mac

New Video: ISLAND’s Gorgeous and Broodingly Cinematic Visual for Atmospheric “Young Days”

Initially formed in Oxford and currently based in London, the acclaimed indie rock act ISLAND — founding member Rollo Doherty (vocals) with Jack Reader (guitar), James Wolfe (bass) and Toby Richards (drums) — can trace their origins back to when Doherty started the band as a solo, acoustic, bedroom project that became a full-fledged band when Doherty recruited Reader, Wolfe and Richards to flesh out the project’s sound. And with the release of their first two EPs and 2018’s full-length debut Feels Like Air, which featured singles like “Try,” “The Day I Die,” and “Ride” and “Horizon,” the British quartet established and cemented aa sound that paired arena rock friendly hooks, earnest songwriting and brooding atmospherics inspired by Fleetwood Mac, Kings of Leon, The War On Drugs, Grizzly Bear and others.

SLAND’S highly-anticipated sophomore album Yesterday Park is slated for a June 25, 2021 release through Frenchkiss Records. Recorded during pandemic-related lockdowns in London last summer with Mikko Gordon, Yesterday Park marks the first time that the acclaimed British indie rock quartet has worked with an outside producer. Reportedly, the end result is material that finds the act experimenting with more complex production while intruding new textures and recording techniques to further hone the sound that has won them acclaim worldwide.

Yesterday Park’s latest single, the slow-burning “Young Days” is centered around Doherty’s plaintive vocals, shimmering and reverb-drenched guitars, broodingly atmospheric synths, jazz syncopated-inspired drumming and a rousing, arena rock sing-a-long friendly hook. Interestingly, much like the album’s previously released singles, “Young Days” is an wistful look at the past, written from the perspective of someone who has suddenly began to recognize that they’re getting old — and the time has somehow rushed by while they’ve been living it. As someone, who’s fully in his 40s, the song feels achingly familiar.

not being able to look into the eyes of the generations who will suffer the worst of the consequences makes it not even seem real,” ISLAND’s Rollo Doherty says of their latest single. “‘Young Days’ considers those ideas, but it was also written when I felt like I had reached a point where I needed to look at aspects of my own life, and change to better my future. The song is lost somewhere between those two thoughts.” The entire band adds “Nostalgia is a feeling that has become more relevant for everyone in the last year, with more time and space to reflect on past experiences.” 

Directed by ISLAND’s Rollo Doherty, the cinematically shot black and white video follows a group of skateboarders fully in their youth — but these young people realize that the world that they will soon inhabit will be fucked up and broken unless the adults do the work to get it right on their behalf. Will we be successful? I don’t know. And that’s frightening.

Live Footage: HAERTS Performs “For The Sky” on “Late Show with Stephen Colbert”

Throughout the course of this site’s decade-plus history, I’ve spilled copious amounts of virtual ink covering JOVM mainstays HAERTS. Tracing their origins back to a budding high school romance in Munich, the acclaimed indie pop act have evolved as its founding (and core) duo — Nini Fabi (vocals) and Benny Gebert (keys, guitar) — have evolved: HAERTS was formed when the duo met their now-former bandmates while studying at Berklee College of Music. Upon graduation, the quintet relocated to Brooklyn, where they quickly built up a profile and released their major label, self-titled, Jean-Philip Grobler-produced. full-length debut.

After a series of lineup changes in which the band’s founding duo has remained, Fabi and Gebert relocated to the woods of Upstate New York, where they worked on and released their sophomore album, 2018’s New Compassion. Since the release of New Compassion, Fabi and Gebert have embraced their early international roots by splitting their time between Berlin and New York — and during that same period, they have been fueled by a renewed spirit of collaboration with musicians and visual artists they’ve long admired including Grizzly Bear’s Ed Droste and Julian Klincewicz, who they worked with on POWER/LAND.

As you may recall, the duo’s third album Dream Nationis slated for a March 12, 2021 release, and the album’s material is reportedly marked by a sense of urgent intensity: Fabi and Gebert wrote the album over the course of about a month — and as soon as they finished, they recorded most of the album with their touring band during a week-long, live recording session in New York. Then they went to Los Angeles, where they put the finishing touches on the album and collaborated with Ed Droste on the album’s first single “For the Sky.” (I’ll be getting to that one in a little bit.)

Sonically, Dream Nation will continue to draw their long-held comparisons to Fleetwood Mac and First Aid Kit, but with subtle nods at Portishead and Lamb. “We went into the studio without setting limits or parameters other than that we wanted to make a record that moves you emotionally and physically,” Fabi and Gebert explain. “We wanted it to feel like an invitation into the strange and fantastical night time world, like the songs they play just before the lights come on, when the party is almost over, and the polish is gone.”

Recently Fabi and Gebert were on Late Show with Stephen Colbert, where they performed a gorgeous, acoustic version of Dream Nation’s first single “For the Sky,” a song that as Nini Fabi explained in press notes “came from a dream I had when I first found out that I was pregnant, which was the catalyst and beginning of writing new music.” Naturally, the acoustic version finds HAERTS stripping the layers of the studio version to leave the studs and beams — Fabi’s soaring vocals and the song’s heartfelt, lived-in lyricism.

The live footage was shot in a paradisal backyard and features HAERTS’ core duo with their gurgling, new baby. And admittedly while the live version of the song is just gorgeous, there are few things that I find myself drawn to:

This family is so adorable. They radiate love and happiness.
The kid is absolutely in love with mom’s voice.
Imagine this child being told that they inspired an album and its first single before they were even here; that mom shot a video for that same song, pregnant with you; and when you were finally here, they performed the song on Colbert with you in her lap.

New Video: JOVM Mainstay HAERTS Releases a Hazy and Feverish Visual for Glistening “it’s Too Late”

Tracing their origins back to a budding high school romance in Munich, the acclaimed indie pop act and JOVM mainstays HAERTS have evolved as its founding (and core) duo — Nini Fabi (vocals) and Benny Gebert (keys, guitar) — have evolved: the duo met their bandmates while studying at Berklee College of Music. Upon graduation, the then-quintet relocated to Brooklyn, where they quickly built up a profile and released their major label, self-titled, Jean-Philip Growler-produced. full-length debut.

After a series of lineup changes, the JOVM mainstays have settled on its founding and core duo, Fabi and Gebert relocated to the Upstate New York woods, where they wrote and recorded their sophomore album, 2018’s New Compassion. Interestingly, since the release of New Compassion, Fabi and Gebert have embraced their multi-national roots by splitting their time between Berlin and New York. During that same period, they’ve been fueled by a renewed spirit of collaboration with artists and visual artists they’ve long admired, including Grizzly Bear’s Ed Droste and Julian Klincewicz, who they worked with on POWER/LAND.

The JOVM’s mainstays third, full-length album Dream Nation is slated for a March 12, 2021 release, and reportedly, the album’s material is marked by a sense of urgent intensity: Fabi and Gebert wrote the album over the course of about a month — and then they recorded most of the album with their touring band during a week-long, live recording session in New York. They then went to Los Angeles, where they put the finishing touches on the album and collaborated with Ed Droste on the album’s first single “For the Sky.” (More on that later.)

Sonically, Dream Nation finds the usual comparisons to Fleetwood Mac and First Aid Kit, making way for subtle nods at Portishead and Lamb. “We went into the studio without setting limits or parameters other than that we wanted to make a record that moves you emotionally and physically,” Fabi and Gebert explain. “We wanted it to feel like an invitation into the strange and fantastical night time world, like the songs they play just before the lights come on, when the party is almost over, and the polish is gone.”

Late last year, I wrote about “For the Sky.” Featuring Fabi’s ethereal and plaintive vocalists shimmering guitars, persistent drumming, a soaring hook and a guest spot from Grizzly Bear’s Ed Droste, “For the Sky” continues a run of carefully crafted pop that references Fleetwood Mac centered around lyrics that come from lived-in experience.

“‘For the Sky’ came from a dream I had when I first found out that I was pregnant, which was the catalyst and beginning of writing the new music,” HAERTS explained in press notes. “When we finished the demo for the song I kept hearing Ed’s voice and just thought he would sound amazing on it. We didn’t know him at the time, but were such fans. When we reached out we honestly thought we’d never hear from him. But we did and we went into the studio in LA, and ended up recording it just singing together in a room. Now that feels like such a nostalgic notion. But even then it was special. It was that feeling you get when you sing with somebody and something just clicks. And it’s especially crazy when you sing with a vocal force as Ed. I wish everybody could sing together more and feel that.”

The album’s second and latest single “It’s Too Late” is a glistening, hook-driven pop confection that sonically — to my ears, at least — is a slick synthesis of Fleetwood Mac, Shuggie Otis, Avalon-era Roxy Music, and disco centered around Fabi’s gorgeous, plaintive vocals.

Directed by their frequent visual collaborator Julian Klincewicz, the recently released video for “It’s Too Late” is a lo-fi, hazy, fever dream through Los Angeles that follows HAERTS’ Fabi as she struts, walks and flirts with the camera. But as the band’s Gerbert explained to PAPER, the video captured both the sensual and dangerous energy of nighttime in Los Angeles: “We filmed the video with Julian during one of the craziest nights in LA. It was all about Nini walking through the empty streets of the city. We wanted it to be a journey through the night, both physically and emotionally, and also capture some of that night time energy of LA. At some point during the shoot I was in a parking lot with a friend, when someone came running towards us with a gun. Luckily, we were able to get away unharmed and we finished the video that night. It was definitely a huge shock. I guess we captured the night time in more ways than we set out to.”

New Video: Complicated Animals Release a Gorgeous animated Visual for Their Acoustic Take on Foo Fighters “Times Like These”

Los Angeles– based duo Complicated Animals— singer/songwriter Monica da Silva and multi-instrumentalist Chad Alger — specializes in what the duo have coined Indie Nova, a mesh of Indie Pop and Bossa nova. Complicated Animals can trace their origins back to 2008: the then-Chicago-based da Silva, who had been wanting to steer her music back to her Brazilian roots had stumbled across Alger’s Craiglist ad seeking someone to start a Brazilian music project with. The duo met during the winter and they survived the cold Chicagoland winter by drinking red wine and black coffee — and at some point, during that haze, Alger picked up a guitar and da Silva made up some lyrics. And the songs they began crafting transported them to the beaches of Brazil.

The duo collaborated on da Silva’s solo album 2010’s Bruce Driscoll-produced Brasilissima, which featured songs written and sung in English and Portuguese. Brasilissima‘s first single “Aí Então”, caught the attention of the blogosphere and Cumbacha Records‘ Jacob Edgar, who featured the track on Putunayo World Music‘s Brazilian Beat compilation. Adding to a rapidly growing profile, the duo’s psychedelic “That’s Not The Way” pump dup crowds during the 2014 World Cup in Brazil.

Written and recorded in a cabin in the Michigan woods, the duo’s Complicated Animals 2015 debut, the six song In This Game EP was released to critical praise by PopMatters, who called the effort “a 6 song masterpiece” and the “beginning of a new sound.” Since then da Silva released the haunting and cinematic “Soldado de Amor,” which was featured on the BBC TV dramatic series The Replacement . Last year, In This Game single “Phoenix” was featured in the Netflix’s Last Summer.

Complicated Animals’ latest single find the duo tackling one of my favorite Foo Fighter songs, and arguably one of their biggest hits “Times Like These.” Famously, Foo Fighters released an acoustic version of “Times Like These,” in which Dave Grohl accompanied himself on guitar and piano — and while leaning much closer to the acoustic version, the Complicated Animals cover is a breezier, folkier, Fleetwood Mac-like take on the song. In my book, “Times Like These” is the rare Foo Fighter song that works as an arena rock anthem and as an intimate singer/songwriter ballad, which is a testament to how well written the song is.

As da Silva and Alger explain, they gravitated toward the track, because the lyrics are in line with the events of this past year. “This year sure has been crazy. We’ve all had to slow down, and focus on familial relationships, and close friendships. We believe that these challenging times, are the times that shape us,” the Los Angeles based duo explain. “The most important thing we can do right now, is just be there for each other. We hope to inspire people with some positivity. The world needs more of that.”

The recently released video for the Complicated Animals “Times Like These” cover features some gorgeous, hand drawn and old-timey storybook-like animation by Brazilian visual artist and animator Karla Caprali. The video manages to capture some of the tragic and inspiring events of what may be one of the more difficult years humanity has seen in some time — from the fear, uncertainty and stress of a pandemic, the Black Lives Matter marches in the aftermath of the deaths of George Floyd, Armaud Arbury and others and more. And while we may have gone through so much together — and apart — it feels like there’s a cautious optimism that we can get things right for once.

“Brazilian artist Karla Caprali created this beautiful video to go with our track. She used a traditional animation technique, and drew each frame by hand,” the members of Complicated Animals explain. “She helped us to realize our vision, by featuring some of the major world events of this year. We have all been through a lot, and we could all use some healing.

Los Angeles-based duo Junaco — Shahanna Jaffer and Joey LaRosa — derive their name for a term that generally means rolling with the pace of life and enjoying the present; living and working with intention, and not just running on autopilot. The act can trace their origins to the duo having a mutual desire to make music for music’s sake, and to write honest songs that meant something for them — and that listeners may be able to have mean something to them, as well. Much like the term that inspired their name, the duo have developed a deliberate creative approach, eschewing the commonly-held attempts to placate the short attention spans of the blogosphere.

The Los Angeles-duo released their Omar Yakar-produced EP Awry last year, an effort that featured the lovelorn “Willow,” which to my ears brought Caveman, Eliza Shaddad and even Fleetwood Mac to mind — and “In Between,” which seemed equally indebted to 70s AM rock and Mazzy Star. Interestingly, Junaco’s latest single “In Between (Reprise)” is a reworking of the successful “In Between.” Collaborating with James McAllister, the reworked song is an ethereal and softer take on the song, evoking the confusing feelings of change, uncertainty and progress with a plaintive slow-burn.

“’In Between’ was one of the first songs we ever wrote, at a time when we both felt a lack of control in our own lives – unsure of how to get to where we wanted to be,” the duo explain in press notes. “Leaving town and writing felt like a step towards something – even though we didn’t know what that was. We didn’t intend to write stories, we just wanted to describe a feeling.” And with the reworked version the song, the band feels the song has come full circle from its original intent, now more than ever.

“There’s something about accepting the unknown that’s very comforting, almost feeling like a surrender. Each time we’ve played the song live, I’ve always felt a relief from just saying ‘i don’t know.’ Now, we’re experiencing a collective feeling of uncertainty – no matter who you are and what you believe. The reprise is a reminder.” 

The term ‘Junaco’ means rolling with the pace of life and enjoying the present; living and working with intention, not just running, which is what they seem to be doing with “In Between (Reprise).” With lyrics “I know this is the way I have to go, but I don’t know, I’ll be back and I will be what I show, when I go home,” Junaco expresses the conflicting feelings of change and progress through soft and lush vocal

With James McAlister as a collaborator, the expression of emotions in the song began to adapt and change: “Working with James McAlister in revisiting the song has given it a new color; he solidified our intention of creating a mood with our music.”

Los Angeles– based duo Complicated Animals— singer/songwriter Monica da Silva and multi-instrumentalist Chad Alger — specializes in what the duo have coined Indie Nova, a mesh of Indie Pop and Bossa nova. Complicated Animals can trace their origins back to 2008: the then-Chicago-based da Silva, who had been wanting to steer her music back to her Brazilian roots had stumbled across Alger’s Craiglist ad seeking someone to start a Brazilian music project with. The duo met during the winter and they survived the cold Chicagoland winter by drinking red wine and black coffee — and at some point, during that haze, Alger picked up a guitar and da Silva made up some lyrics. And the songs they began crafting transported them to the beaches of Brazil.

The duo collaborated on da Silva’s solo album 2010’s Bruce Driscoll-produced Brasilissima, which featured songs written and sung in English and Portuguese. Brasilissima‘s first single “Aí Então”, caught the attention of the blogosphere and Cumbacha Records‘ Jacob Edgar, who featured the track on Putunayo World Music‘s Brazilian Beat compilation. Adding to a rapidly growing profile, the duo’s psychedelic “That’s Not The Way” pump dup crowds during the 2014 World Cup in Brazil.

Written and recorded in a cabin in the Michigan woods, the duo’s Complicated Animals 2015 debut, the six song In This Game EP was released to critical praise by PopMatters, who called the effort “a 6 song masterpiece” and the “beginning of a new sound.” Since then da Silva released the haunting and cinematic “Soldado de Amor,” which was featured on the BBC TV dramatic series The Replacement . Last year, In This Game single “Phoenix” was featured in the Netflix’s Last Summer.

Complicated Animals’ latest single find the duo tackling one of my favorite Foo Fighter songs, and arguably one of their biggest hits “Times Like These.” Famously, Foo Fighters released an acoustic version of “Times Like These,” in which Dave Grohl accompanied himself on guitar and piano — and while leaning much closer to the acoustic version, the Complicated Animals cover is a breezier, folkier, Fleetwood Mac-like take on the song. In my book, “Times Like These” is the rare Foo Fighter song that works as an arena rock anthem and as an intimate singer/songwriter ballad, which is a testament to how well written the song is.

As da Silva and Alger explain, they gravitated toward the track, because the lyrics are in line with the events of this past year. “This year sure has been crazy. We’ve all had to slow down, and focus on familial relationships, and close friendships. We believe that these challenging times, are the times that shape us,” the Los Angeles based duo explain. “The most important thing we can do right now, is just be there for each other. We hope to inspire people with some positivity. The world needs more of that. We’re collaborating with a talented Brazilian artist named Karla Caprali. She has created the song art, and is working on a powerful visual (animated video) to go with the track. We’re staying hopeful for the future. As Oscar Wilde said, ‘Behind every exquisite thing that existed, there was something tragic.’”

New Video: Rising Pop Artist Elizabeth Releases an Atmospheric Cover of Fleetwood Mac’s “Go Your Own Way”

Beginning her musical career as the frontperson and primary songwriter of acclaimed Melbourne, Australia-based pop act Totally Mild, an act that recorded two critically applauded album before splitting up, Elizabeth Mitchell has stepped out into the limelight as rising solo artist, writing and performing under the mononym Elizabeth.

By going solo, the rising Aussie pop singer/songwriter has been able to reimagine and reinvent herself — and with the release of her full-length debut, last year’s the wonderful world of nature, Elizabeth transformed herself into a sort of patron saint of anguish, heartbreak and woe, all of which have allowed her to develop a completely unique sound apart from her previously known work. imbued with desire, lust, shame, guilt, uncertainty and a glamorous debauchery.

The Melbourne-based pop artist will be releasing a deluxe edition of the wonderful world of nature on October 23, 2020 through AntiFragile Records — and the deluxe edition will feature a handful of new material, including her latest single, a slow-burning and atmospheric cover of Fleetwood Mac’s “Go Your Own Way.” Centered around twinkling piano and the rising Aussie pop artist’s tender vocals, Elizabeth’s version strips everything away to the bone, revealing the bitter heartache at the core of the song.

Directed by Elizabeth and Xanthe Dobbie, the recently released video is a hazy and intimate visual that follows a brooding Elizabeth, on the verge of tears.

New Video: Acclaimed Indie Act HAERTS Release a Dazzling Visual for Soaring “For the Sky”

Tracing their origins back to a budding high school romance in Munich, the acclaimed indie pop act HAERTS has evolved as its founding duo — Nini Fabi (vocals) and Benny Gebert (keys, guitar) — have evolved: the duo met their bandmates in Boston, while studying at Berklee College of Music with the the band relocating to Brooklyn, where they quickly built up a profile and released their major label, self-titled debut. And after a number of lineup changes in which the band’s founding duo has remained, Fabi and Gebert relocated to the woods of Upstate New York, where they worked on and released their sophomore album, 2018’s New Compassion.

Since the release of New Compassion, Fabi and Gebert have embraced their early international roots by splitting their time between Berlin and New York — and during that same period, they have been fueled by a renewed spirit of collaboration with musicians and visual artists they’ve long admired including Grizzly Bear’s Ed Droste and Julian Klincewicz, who they worked with on POWER/LAND.

“For the Sky,” the duo’s first bit of new material. this year, is centered around Fabi’s ethereal vocals, shimmering guitars, persistent drumming and a soaring hook. And while featuring a guest spot from Grizzly Bear’s Ed Droste, “For the Sky” continues an incredible run of carefully crafted pop tunes that reference Fleetwood Mac paired with earnest, lived-in songwriting. “‘For the Sky’ came from a dream I had when I first found out that I was pregnant, which was the catalyst and beginning of writing the new music,” HAERTS explain in press notes. “When we finished the demo for the song I kept hearing Ed’s voice and just thought he would sound amazing on it. We didn’t know him at the time, but were such fans. When we reached out we honestly thought we’d never hear from him. But we did and we went into the studio in LA, and ended up recording it just singing together in a room. Now that feels like such a nostalgic notion. But even then it was special. It was that feeling you get when you sing with somebody and something just clicks. And it’s especially crazy when you sing with a vocal force as Ed. I wish everybody could sing together more and feel that.”

Directed by their longtime visual collaborator Julian Klincewicz, the recently released video for “For the Sky” features a very pregnant and stunningly beautiful Nini Fabi dancing and singing along to the song. Indirectly, the visual points to the delicate balance between life and death; the resilience, strength, love and joy of motherhood; and the blessed miracle of healthy new life — especially in light of a global pandemic. “A few months later, we decided that we wanted to do a music video a week before i ended up giving birth,'” HAERTS says. “So it all came full circle when Julian came to NY and filmed me dancing at 9 months pregnant.”

“I think my process on this video was kind of about pushing through to the next chapter in our collaborative visual language,” Julian Klincewicz says of the video’s creative process. “I think If you look back at POWER/LAND, there’s a sort of directness or rawness in the humanity of it. And then if we look at YOUR LOVE – that rawness sort of transitions into a spiritual softness. I think right now is such a confrontational time – that to deal with some of those same themes it needs to have a bit more of a confrontational visual language… with the harsher more vibrant colors… its shifting from a kind of spiritual language, almost more into just a more energetic language. I think for me that’s the best word to describe it – the video is very much about an energy, a visual translation of the energy of the song. I was also thinking a lot about this idea of a coloring book – creating images that almost felt drawn, or like tracings of drawings. I think we started touching on that with the last album, but i wanted to push that a little further along. The raw footage we started off with was so clean and beautiful untouched, but i also had this urge to see how that footage could be pushed until it becomes something else entirely – until it could almost become its opposite kind of beauty – indirect, abstract, less literal. taking the spirit of it, but translating it into just the energy version of it.“