Tag: Hearts Hearts AAA

New Audio: JOVM Mainstays Hearts Hearts Release Symbolism-Filled, Animated Visuals for “Sugar/Money”

Over the past couple of years, I’ve written quite a bit about the Vienna, Austria-based indie rock/experimental rock band Hearts Hearts, and as you may recall, with the release of  “I Am In” and “AAA” off their critically applauded debut album Young,  the Austrian act, comprised of David Österle, Daniel Hämmerle, Johannes Mandorfer, and Peter Paul Aufreitet, initially developed a reputation for crafting brooding, slow-burning and elegiac electro pop that drew comparisons to the likes Sigur Ros, Flying Lotus, The Darcys and Radiohead from critics and media outlets internationally. 

As the story goes, after the release of Young, the band’s Peter Paul Aufreiter and Johannes Mandorfer sent two radically different sound snippets to their bandmate David Österle — an aggressive and jazzy piano loop titled “Phantom” and an electronic drum take recorded overseas titled “Island,” which interestingly enough is the German word for the country of Iceland. Upon receiving those two sound snippets from his bandmates, Österle frantically began attempting to put these disparate pieces together; to synchronise what was never meant to be unified, and then started singing over the results. Goods/Gods, the Austrian act’s genre-defying sophomore album reportedly draws from the work of Bon Iver, Jamie XX and Son Lux while taking its thematic cues from the in between spaces and undefined borderlines in meaning, symbolized by the slash in every title on the album. And as a result, the material finds the band exploring emotional and moral ambiguities, and the ineffectiveness and confusions that the dichotomies and borderlines that define modern society. As the band’s Hämmerle says, the band prefers to think “think in options,” seeing the slash as representing an openness and flexibility in meaning; in similarities as much as in difference.

Earlier this year, I wrote about the aforementioned album single “Phantom/Island,” a wildly experimental track that possessed elements of jazz, electronica, indie rock and experimental pop in a way that brings to mind Kid A and Amnesiac-era Radiohead, Flying Lotus and Kamasi Washington— but while conjuring a mix of anguish and ecstasy, yearning and desire within a turn of a musical phrase. “Sugar/Money,” the  album’s latest single is a bit more straightforward than some of its predecessors as the song finds the band drawing from early 80s New Wave, ambient electronica and indie rock in a way that feels dimly familiar but not quite, while focusing on an accessible and infectious hook that gives the song a sense of immediacy. As the band’s frontman David Österle says in press notes, “Living sometimes seems to be a permanent process of self-discipline. We are all constantly running for a jam tomorrow. Sugar keeps us highly energetic. Life doesn’t encourage us to experience the future as a blind joyride. Let’s catch some moments of exhilaration, damn, let’s feel the thrill of immediateness.”

Created by Shorsch Feierfeil, the recently released video for “Sugar/Money” employs the use of incredibly fluid line animations that quickly morph into different arrays of symbolic imagery  that further emphasizes the song’s longing. 

New Video: Austria’s Hearts Hearts Release Gorgeously Shot Surreal Visuals for Album Title Track “Goods/Gods”

With the release of “I Am In” and “AAA” off their critically applauded debut album Young, the  Vienna, Austria-based quartet Hearts Hearts, comprised of  David Österle, Daniel Hämmerle, Johannes Mandorfer, and Peter Paul Aufreitet, initially developed a reputation for crafting brooding, slow-burning and elegiac electro pop that drew comparisons Sigur Ros, Flying Lotus, The Darcys and Radiohead among others. Thematically, Young focused on tension and release — in the sense of someone desperately attempting to break through and out of the familiar and debilitating patterns of their own life.

After Young’s release, the band’s Peter Paul Aufreiter and Johannes Mandorfer sent two radically different sound snippets to their bandmate David Österle — an aggressive and jazzy piano loop titled “Phantom” and an electronic drum take recorded overseas titled “Island,” which interestingly enough is the German word for the country of Iceland. Upon receiving those two sound snippets from his bandmates, Österle frantically began attempting to put these disparate pieces together; to synchronise what was never meant to be unified, and started singing over it. It resulted in the Austrian act’s highly-anticipated, genre-defying sophomore album officially drops today, and the album reportedly finds the band drawing sonically from Bon Iver, Jamie XX and Son Lux while thematically focusing on the in between spaces and undefined borderlines in meaning, symbolized by the slash on all of the album’s song titles. Interestingly, the material finds the band exploring emotional and moral ambiguities, and the ineffectiveness and confusions that dichotomies and borderlines that define modern society. As the band’s Hämmerle says, the band prefers to think “think in options,” seeing the slash as representing an openness and flexibility in meaning; in similarities as much as in difference.

Earlier this year, I wrote about “Phantom/Island” a genre-mashing and genre-defying track that possessed elements of jazz, electronica, indie rock and experimental pop in a way that brings to mind Kid A and Amnesiac-era Radiohead, Flying Lotus, and Kamasi Washington  and “Sugar/Money,” Goods/Gods’ most straightforward track as there’s a decided focus on accessible and infectious hooks while nodding at early 80s New Wave. Goods/Gods’ latest single, album title track “Goods/Gods” is centered around stuttering beats, an arpeggiated synth loop, some industrial clang and clatter, while revealing soaring hooks and a tight groove within a song that sounds deeply indebted to Flying Lotus. 

Directed by Rupert Höller, the recently released video for “Goods/Gods” continues a run of gorgeous and cinematically shot and surrealistic visuals — in particular, the new video balances a hypnotic vibe with a contemporary sense of isolation and anxiousness. 

Live Footage: Hearts Hearts Perform “Sugar/Money” at Hotel am Brillantengrund, Vienna

With the release of “I Am In” and “AAA” off their critically applauded debut album Young, the  Vienna, Austria-based quartet Hearts Hearts, comprised of  David Österle, Daniel Hämmerle, Johannes Mandorfer, and Peter Paul Aufreitet, initially developed a reputation for crafting brooding, slow-burning and elegiac electro pop that drew comparisons Sigur Ros, Flying Lotus, The Darcys and Radiohead. Thematically, Young focused on tension and release — in the sense of someone desperately attempting to break through and out of the familiar and debilitating patterns of their own life. 

As the story goes, after the release of Young, the band’s Peter Paul Aufreiter and Johannes Mandorfer sent two radically different sound snippets to their bandmate David Österle — an aggressive and jazzy piano loop titled “Phantom” and an electronic drum take recorded overseas titled “Island,” which interestingly enough is the German word for the country of Iceland. Upon receiving those two sound snippets from his bandmates, Österle frantically began attempting to put these disparate pieces together; to synchronise what was never meant to be unified, and start singing over the results. Goods/Gods, the Austrian act’s genre-defying sophomore album reportedly draws from the work of Bon Iver, Jamie XX and Son Lux while taking its thematic cues from the in between spaces and undefined borderlines in meaning, symbolized by the slash in every title on the album. And as a result, the material finds the band exploring emotional and moral ambiguities, and the ineffectiveness and confusions that the dichotomies and borderlines that define modern society. As the band’s Hämmerle says, the band prefers to think “think in options,” seeing the slash as representing an openness and flexibility in meaning; in similarities as much as in difference.

Now, as you may recall, I wrote about the trippy album single “Phantom/Island,” a genre-mashing and genre-defying track that possessed elements of jazz, electronica, indie rock and experimental pop in a way that brings to mind Kid A and Amnesiac-era Radiohead Flying Lotus and Kamasi Washington — but while conjuring a mix of anguish and ecstasy, yearning and desire within a turn of a musical phrase. “Sugar/Money,” the soon-to-be released album’s latest single is a bit more straightforward as the song finds the band drawing from early 80s New Wave, ambient electronica and indie rock in a way that feels dimly familiar but not quite, while focusing on an accessible and infectious hook. 

New Video: Hearts Hearts Returns with Feverish and Surreal Visuals for Genre-Defying Single “Phantom/Island”

Comprised of David Österle, Daniel Hämmerle, Johannes Mandorfer and Peter Paul Aufreitet, the Vienna, Austria-based quartet Hearts Hearts developed a reputation for crafting brooding, slow-burning and elegiac music indebted to classic musical and electro pop that drew comparisons to Sigur Ros, Flying Lotus, The Darcys and Radiohead as you would have heard on “I Am In” and “AAA” off their critically applauded debut album Young, an effort that thematically focused on tension and release — in the sense of someone desperately trying to break through and out of the familiar and debilitating patterns of their own life. 

During the release of the Austrian act’s debut Young, the band’s Peter Paul Aufreiter and Johannes Mandorfer sent two radically different sound snippets to their bandmate David Österle — an aggressive and jazzy piano loop titled “Phantom” and an electronic drum take recorded overseas titled “Island,” which interestingly enough is the German word for the country of Iceland. And as the story goes, Österle frantically began attempting to put these disparate pieces together; to synchronise what was never meant to be unified, and start singing over the results. The genre-defying album reportedly draws from the work of Bon Iver, Jamie XX and Son Lux while taking its thematic cues from the in between spaces and undefined borderlines in meaning, symbolized by the slash in every title on the album — with the band exploring both emotional and moral ambiguities, the ineffectiveness and confusions that the dichotomies and borderlines that define modern society. As the band’s Hämmerle says, the band prefers to think “think in options,” seeing the slash as representing an openness and flexibility in meaning; in similarities as much as in difference. 

The album’s first single “Phantom/Island” offers a heady and trippy taste of the overall aesthetic and sound of the album, as the band draws from jazz, electronica, indie rock, experimental pop in a way that immediately brings Kid A-era Radiohead, Flying Lotus and Kamasi Washington — and while being at their most sonically expansive and genre-defying, the track finds the band conjuring a mix of anguish and ecstasy, yearning and desire within a turn of a musical phrase, as you’ll hear a propulsive, almost dance floor friendly motorik groove during the song’s verses and a soaring, cinematic hook that conveys yearning and ache. The song finds the band at their most intimate yet cinematic,  experimental yet accessible, feverish and frenetic in what is arguably one of the most gorgeous and transcendent songs I’ve heard this year. 

Filmed and directed by Austrian artist Gabriel Hyden, the breathtakingly gorgeous visuals are a surreal and feverish dream inspired by Iceland’s equally surreal and gorgeous landscapes.  

New Video: Vienna, Austria’s Hearts Hearts Return with a Brooding and Artistic Meditation on Identity, Self-Invention and Perspective

“AAA” is the Austrian quintet’s latest single off Young and sonically it’s a song that nods at Kid A, Amnesiac, and Hail to the Thief-era Radiohead as shimmering guitar chords, stuttering drum programming, swirling electronics, twinkling keys and a lush string arrangement with Österle’s tender and aching falsetto expressing a deep yearning for more while possessing an underlying uncertainty at its core. Interestingly enough as the band’s frontman David Österle explained about both the song and its video treatment: “I think that the world is a place, where we can dare to pretend. ‘AAA’ deals with that basic feature of the human condition. We fake it till we make it, and thereby go (at least sometimes) astray in the plethora of metamorphoses in that societal masquerade. I think that by assuming different roles we ourselves are fulfilling the requirements of the economy, demanding excessive flexibility and changeability. As a result we all feel like faceless puppets sometimes.

“We wanted to make a video that visually underscores this figuration of identity as a permanent process of self-inventions. The video is much about showing people in different perspectives. The images are blurry, sometimes they are overlapping and merging together seamlessly. What the lens captures, is actually the performance of a performance, the play in a play.”