Tag: lyric video

Video by William Ruben Helms

Lyric Video: JOVM Mainstays No Swoon Share Introspective New Single

Formed back in 2016, JOVM mainstays No Swoon — Tasha Abbott (vocals, guitar) and Zack Nestel-Patt (synths, baas) — have developed an established sound that sees the pair meshing elements of dream pop, shoegaze, post-punk and ethereal wave through two releases, 2018’s EP 1 and 2019’s ’s Jorge Elbrecht-produced, self-titled full-length debut. 

Much like countless others across the world, the COVID-19 pandemic, threw the the lives and plans of the JOVM mainstays into disarray” their planned tour to support their full-length debut had to be scrapped entirely. After spending the past five years in Brooklyn, the duo relocated to Los Angeles. And understandably, spending over a year in quarantine-imposed isolation forced the pair to step back and think about their lives in new ways — and to examine the intricacies of going through life as we know it.

The duo managed fro released a couple of singles during the pandemic, including the Siamese Dream era Smashing Pumpkins meets Slowdive like Again,” a single that marked massive, life-altering transitions for the duo: their aforementioned return back West paired with a reworked sound and approach.

As the JOVM mainstays explained in press notes, “This song is about when days begin and end with no real definition. About being stuck in the loop of our life and we can’t get out. It may come to no surprise that this song was written early on in the Pandemic. Before everything shut down, I (Tasha) was constantly moving: work, music, sleep, etc., and being at stand-still all of a sudden was definitely strange (on top of the already terror and stress of the pandemic).”

Interestingly, “Again” will appear on the band’s highly-anticipated sophomore album Take Your Time. Slated for an April 8, 2022 release, the lion share of Take Your Time was recorded by the band in Western Massachusetts, amidst the isolation of pandemic related quarantine — with the band’s Nestel-Patt taking up engineering duties during the initial recording sessions. The album features guest spots from longtime collaborator Jon Smith (drums), along with Furrows‘ and Olden Yolk’s Peter Wagner (guitar). Jake Aaron contributed some additional production and Chris Coady mixed the album, pushing the material into something otherworldly. 

Take Your Time‘s material was conceived and written during both personal and global transitions and turmoil — but while celebrating a joyful acceptance of the paths that have lead each of us to where we are right now. About the album’s themes, No Swoon’s Abbott contends, “We are so hard on ourselves for decisions we made years ago. I have plenty of regrets, but I also see it as a process, and it’s ok that I didn’t realize the hopes and dreams of 20-year old me. What did she know anyways?” 

Last month, I wrote about Take Your Time‘s first official single “Besides.” Centered around Abbott’s plaintive and breathy falsetto, a propulsive rhythm section and intertwined buzzing power chords and twinkling, reverb-drenched synths, “Besides” sonically nods at Beach House, but as the band’s Tasha Abbott explains, the song was inspired by a wild, enigmatic dream she once had in which, while exploring a mysterious cavern, she stumbled upon a secret apparently blissful cult with ambiguous intentions.

“I have some really weird dreams,” Abbott said in press notes. “They are often these wide-ranging sci-fi stories. This song is part 2 of the same dream that inspired a song on our first record ‘Don’t wake up, wake up‘. That dream had ended with meandering into a cave that turned out to be the home to a cult where everyone looked the same and seemed very ‘happy.’ Though, obviously they were not very happy because it was a cult. I eventually got out.”

“Wait to See,” Take Your Time‘s brooding third and latest single is centered around a maelstrom of synths, driving percussion, blown out bass with Abbott’s ethereal vocals floating over the mix, to create a mesmerizing song that’s simultaneously bruising and dreamily introspective.

“This song is about growing up,” No Swoon’s Abbott says in press notes. “
We’re talking to our younger selves who had very specific dreams and ideas of how our lives would pan out. But as we all know, the hopes and dreams we had at 15 are usually not our realities when we grow up.. We could look back and be upset that we didn’t become who we had hoped to be, or we could relish the new ideas and new dreams, and be ok with where we are. This song is about how looking back now, you can see the path that led to where we are now and how we wish we could tell our younger selves to be kind to who we will grow up to be.”

Video by William Ruben Helms

Lyric Video: JOVM Mainstays White Lies Return with Anthemic “Blue Drift”

Acclaimed London-based post-punk act and JOVM mainstays White Lies — Harry McVeigh (vocals. guitar), Charles Cave (bass, vocals) and Jack Lawrence-Brown (drums) — released their fifth album, the aptly titled FIVE back in 2019. FIVE continued a remarkable run of commercially and critically applauded material that often found the band balancing arena rock bombast with intimate and confessional, singer/songwriter pop lyrics.

The London-based JOVM mainstays’ sixth album, the Ed Bueller and Claudius Mittendorfer co-produced As I Try Not To Fall Apart saw its official release through [PIAS] today. Recorded over two breakneck studio sessions, As I Try Not To Fall Apart features what may arguably be White Lies’ most expansive material to date with the songs possessing elements of arena rock, electro pop, prog rock and funky grooves paired with their penchant for enormous, rousingly anthemic hooks.

In the lead up to As I Try Not To Fall Apart‘s release, I’ve written about three of the album’s singles:

  •  “As I Try Not To Fall Apart,” a rousingly anthemic yet psychologically precise character study of a desperate man, who feels hopelessly stuck in a socially prescribed “appropriate” gender role, while also trying to express his own vulnerability and weakness. 
  • “I Don’t Want To Go To Mars,” one of the most mosh pit friendly, guitar-driven rippers the band has released in some time that tells a story of its main character being sent off to a new colonized Mars to live out a sterile and mundane existence. The band goes on to say: “Fundamentally the song questions the speed at which we are developing the world(s) we inhabit, and what cost it takes on our wellbeing.” 
  • “Am I Really Going To Die,” a glittery, glam rocker centered that seemed inspired by Roxy Music and Duran Duran, but thematically touches upon mortality and the uneasy acceptance of the inevitable

As I Try Not To Fall Apart‘s latest single, “Blue Drift” is an expansive, prog rock-like song centered around the rousingly anthemic hooks that White Lies has long been known for, a relentless motorik groove, Nile Rodgers-like funk guitar, thunderous drumming and glistening synths paired with Harry McVeigh’s yearning delivery. The song seems to captures a narrator on the verge of a breakdown, a broken, gaping wound and uncertain of their footing.

“Dare I say it this is another tip-toe into a more progressive-rock realm,” White Lies’ Charles Cave says in press notes. “The song feels very much a nighttime drive to me, winding empty roads, foreign air creeping in through the window. It’s a song about being humbled by the mind’s ability to lift us up and bring us down. It’s grand, full of longing and bombast, but there is an uneasiness to it too. It never quite resolves. This is going to be HUGE when we play it live!”

Video by William Ruben Helms

Lyric Video: Athenian Artist Theodore Shares Expansive, Shoegazer-like “Frame of Reference”

Initially schooled in piano and traditional Greek folk music, before heading to London to study Music Composition, the critically applauded Athens, Greece-based singer/songwriter, multi-instrumentalist and composer, Theodore frequently meshes classically inspired compositions, electronic production and rock arrangements to create a cinematic sound and approach that nods at psych rock, prog rock and experimental rock. And in some way, it shouldn’t be surprising that the critically applauded Athenian artist has publicly cited Sigur Ros, Radiohead, Pink Floyd, Manos Hadjidakis, Vangelis Papathanasiou, Nils Frahm, The National, Olafur Arnalds and Max Richter as being major influences on his work and sound. 

The Athens-based artist performed his sophomore album It Is But It’s Not at London’s Abbey Road Studio 2 and the live footage of that session amassed over two million YouTube views. Building upon a rapidly growing profile, Theodore and his backing band played sets across the global festival circuit, including Reeperhbahn Festival, Eurosonic Nooderslag, Release Festival, New Colossus and  SXSW.

Adding to a growing profile, he also opened for Sigur Ros and DIIV, and has received praise from a number of major outlets including Clash Magazine, Music Week, Tsugi, FGUK, Gaffa and Szene, as well as airplay from BBC Radio 6 Music’s Lauren Laverne.

As a composer, Theodore has written the scores for Matina Megla’s Windo and Vladan Nikolic’s Bourek. He was also commissioned to write a new, live score for Buster Keaton’s classic silent comedy The Cameraman, which was performed by the acclaimed Greek artist and his band during a screening at the Temple of Zeus. (Seriously, how cool is that?)

Theodore’s third album, 2018’s Inner Dynamics thematically found the Greek artist looking inward to examine the dichotomies — and dualities — of his identity to seek new, creative potential. “On It Is But It’s Not, I tried to explore how the opposite elements in the universe interact, how they fight and how without the one you can’t have the other.” Theodore says, adding, “For Inner Dynamics, I was trying to express my urge to connect the conscious and subconscious part of myself so I can be creative. It’s an understanding that humans are not just one thing, and they shouldn’t try to hide certain elements of their personality because society likes to put labels of who we are. It’s the different sides of my self that makes who I am.” 

The Athens-based singer/songwriter, multi-instrumentalist and composer’s fourth album, The Voyage is slated for a March 13, 2022 release through United We Fly. The Voyage is a concept album that takes the listener on a journey through space while examining and reflection on human evolution.

The album’s latest single “Frame of Reference” is a slow-burning and expansive song that begins with a lengthy introduction featuring atmospheric synths and slowly builds up into a massive, orchestral swelling with swirling, shoegazer-like guitars and increasingly forceful drumming. The two distinct sections are held together by Theodore’s yearning vocals.

“Frame of Reference” is inspired by a dream Theodore had in which he was looking back on how charmingly blue Earth was, as he was floating away in outer space. The song as he explains is about how the things we don’t really appreciate in our daily lives can often appear beautiful from a distant point of view.

Fittingly, “Frame Of Reference” is accompanied by a space imagery themed, official lyric video, which helps set the overall mood for the Athenian artist’s forthcoming album.

“This lyric video is a space journey. From Earth to the planets of our solar system, to distant galaxies and interstellar transitions,” Danai Nielsen, the video’s director explains in press notes. “It follows the emotion and intensity of the song, trying to communicate and engage the emotion that Theodore conveys musically into moving images. It has a strong element of nostalgia and exploration. We are moving away from the Earth, our safe base and home, without a clear destination. We are just floating in this infinitely beautiful space.”

Video by William Ruben Helms

Lyric Video: Maggie Gently Shares Anthemic and Earnest “Worried”

Maggie Gently is a San Francisco-based singer/songwriter and queer woman, whose identity is very important to her and to the community she creates and participates in. And with the release of her debut EP, 2020’s Good Cry and singles like “Where My Time Went” and “Bitter Pills,” Gently’s work explored heartbreak, attempts at healing, learning things the hard way, establishing boundaries and protecting your heart. Sonically, her work is generally inspired by Snail Mail, Lala Lala, Tancred and Clairo, as well as Meg Hayertz’s “Make It Mean It” tarot-focused. guided meditations, lesbian romance novels and the Enneagram of Personality. As a result, her work is often melody-driven and heartfelt.

The San Francisco-based artist’s full-length debut, the Eva Treadway-produced Peppermint is slated for a March 18, 2022 release through Refresh Records. Recorded at San Francisco’s El Studio the album features a backing band that includes Treadway (lead guitar), Gently’s brother Joey Grabmeier (drums) and Sinclair Riley (bass). Peppermint‘s nine songs focus on the personal yet deeply universal questions of commitment and love, the terrifying possibility of being vulnerable and known, and ultimately trusting something enough to let yourself get swept away in it.

Peppermint‘s latest single “Worried” is an anthemic bit of 90s alt rock-inspired pop featuring chugging guitars and thunderous drumming paired with earnest and lived-in songwriting, Gently’s plaintive vocals and an enormous, sing-along worthy hook. The song is written from the perspective of an uneasy and anxious person desperately trying to hold on to the things and people who she believes she can’t afford to lose.

Peppermint‘s latest single “Worried” is an anthemic bit of 90s alt rock-inspired pop featuring chugging guitars and thunderous drumming paired with earnest and lived-in songwriting, Gently’s plaintive vocals and an enormous, sing-along worthy hook. The song is written from the perspective of an uneasy and anxious person desperately trying to hold on to the things and people who she believes she can’t afford to lose; but ironically she may lose anyway.

The lyric video follows the rising San Francisco-based artist on what may arguably be the longest Uber ride ever taken.

Video by William Ruben Helms

Lyric Video: Mathieu Saïkaly’s Intimate and Gorgeous “If it’s all a choice”

Mathieu Saïkaly is a French electronic music producer and artist, who started his career in earnest when he turned 17: Saïkaly started a YouTube channel that initially featured recordings of the French producer and artist doing covers — but gradually he began releasing original material. Much like countless other young artists across the world, Saikaly started developing and honing his own style, discovering what resonated with him. Writing and singing lyrics in English and French, Saïkaly searched for ways to make his knowledge of both languages work together on a project, which he improved upon each year. 

When Saïkaly turned 20, he started to go out beyond the confines of his bedroom. He didn’t quite know where or how to start a music career but his friends told him he should sign up for Nouvelle Star. He wound up winning the 2014 season — singing an Elliott Smith song in the final. He was signed to a major label and released his full-length debut, 2015’s A Million Particles, which featured the viral hit “From Glass To Ice,” a song that amassed over four million streams on Spotify.

When he turned 24, the French producer and artist decided to go the independent route: He created his own label, which released his sophomore album, 2019’s Quatre Murs Blanc, an intimate and impressionistic album that focused on emotions first and the story second. The album featured album track”Mama Oh I Swear,” which amassed 400,000 Spotify streams.

Earlier this year, I wrote about “Plus jamais te revoir,” a trippy and mind-bending track centered around tweeter and woofer rocking beats, shimmering and wobbling synth arpeggios and Saïkaly’s achingly tender vocals. The end result was a song that felt like a vivid fever dream. His latest single “If it’s all a choice” further cements his reputation for being a restless experimentalist, who constantly alters his sounds and approach.

In the case of “If it’s all a choice,” Saïkaly has crafted an intimate song centered around a sparse yet gorgeous arrangement featuring the French artist’s expressive vocals accompanied by strummed, acoustic guitar. Thematically, the song deals explores the role of free will and that of fate in all of our doings — particularly when it involves affairs of the heart. And perhaps more than any other song in his catalog, “If it’s all a choice” seems the most informed by deeply personal, lived-in experience.

“I keep exploring. I changed my way of producing. My two albums were recorded in studio, I observed a lot the sound engineers, I learned a lot,” Saïkaly says in press notes. “Today, I feel able to translate my music, to make things sound the way I want. And that unlocks other ways of creating. Alone, you don’t have a time limit, unlike in the studio.”

Video by William Ruben Helms

Lyric Video: Cambodian-Canadian Artist Visrei Releases a Swooning and Dreamy Single

Donavan Nguon is a Cambodian-Canadian singer/songwriter, multi-instrumentalist, producer and creative mastermind behind the solo, indie electro pop recording project Visreri. Inspired by an eclectic array of influencers including Yasutaka Nakata, Sky Ferreira, My Bloody Valentine and others, Nguon’s work with Visrei sees the Cambodian-Canadian artist crafting painterly soundscapes with synths superimposed on thumping rhythms.

Nguon’s full-length debut is slated for a Winter 2022 release through Lisbon Lux Records. The album’s first single “Quelqu’un d’autre” is a swooning bit of dreamy pop centered around layers of glistening and twinkling synth arpeggios, skittering beats paired with an infectious hook and the Cambodian-Canadian artist’s achingly plaintive vocals. Sonically. “Quelqu’un d’autre” may bring Washed Out’s Within and Without to mind. But as the Canadian singer/songwriter, multi-instrumentalist and producer explains the song thematically can be read in two very different yet profound ways: The song describes the sensation of having to worry about being lonely, of not having a lover/soulmate and the desperate push to search and meet new people. But it also conveys a reassuring message in the event that your hopes don’t come true.

Video by William Ruben Helms

Lyric Video: JEEN’s Shimmering and Anthemic New Single “Recklessly”

Jeen O’Brien is a Canadian singer/songwriter and guitarist, who has written songs for a lengthy list of recording artists. As a solo artist, performing with the mononym Jeen, O’Brien has written songs used in ad campaigns for Google, Panasonic, Estée Lauder, Kraft, BlackBerry, KIA, Rogers, Mastercard and Molson, as well as TV shows like Republic of Doyle, Instant Star, Ruby Gloom, Degrassi, Hockey Wives, Killjoys, Workin’ Moms, Catfish, Are You the One and the major motion picture Cook Off. And in addition to her solo work, O’Brien is a member of Cookie Duster with Broken Social Scene‘s Brendan Canning. 

O’Brien’s newest full-length album, the Ian Blurton co-produced Dog Bite is slated for an October 22, 2021 release. Earlier this year, I wrote about “Better Drugs,” a grungy bit of power pop centered around crunchy guitars, O’Brien’s Liz Phair-like delivery and a rousingly anthemic hook.

While sonically brining 90s alt rock and 120 Minutes-era MTV to mind, the song as the Canadian artist explained that the song explored our desire to constantly seek something better. The song was directly influenced by the events of last year — both socially and personally: “I wrote ‘Better Drugs’ eight months after watching the world burn, with everything so exposed and gross,” O’Brien said in press notes. “Like we had all lost too many pieces of ourselves to put back together or something…I wondered how fundamental it was, like how broken are we, you know? On top of that, I had a very sudden death in the family 48 hours before we went into the studio to record.

“This kind of raw disconnect leads to all the problems especially if you’ve lost connection with yourself…so with all that fell away last year, I found myself pathetically grateful for the few people I still had around me.”

Dog Bite‘s latest single “Recklessly” is a shimmering bit of indie pop centered around angular guitars, glistening synths, enormous hooks, and a relentless disco influenced groove. Sonically, the slick produced “Recklessly” manages to hint at The Romantics “Talking In Your Sleep,” Only By The Night era Kings of Leon and DFA Records while evoking the dizzying sensation of uncertainty and stasis.

O’Brien explains that “Recklessly” was “written for when you can’t tell if you’re moving forward or falling behind and when it’s impossible to know where you’ll end up.”

Video by William Ruben Helms

Lyric Video: Chennai’s The F16s Release a surreal and Dream-like Visual for Shimmering “I’m On Holiday”

The rising Chennai, India-based indie rock act The F16s — currently Abhinav Krishnaswamy (guitar), Harshan Radhakrishnan (keys), Joshua Fernandez (vocals, guitar) and Sashank Manohar (bass) — can trace their origins back to 2002 when its founding trio met while attending college. Over the better part of the past decade, the Chennai-based quartet have been busy: their debut EP Kaleidoscope caught the attention of Rolling Stone India, who listed them in their Artists to Watch For feature. 2016’s full-length debut Triggerpunkte was supported with touring across the Indian festival circuit, as well as a six city tour across Singapore, Cambodia, Vietnam and Thailand. Eventually, The F16s caught the attention of Oxford, MS-based indie label House Arrest, who signed the band and released 2019’s WKND FRNDS EP, an effort that won furhter attention internationally, as well as on this site.

Building upon a growing international profile, the band’s highly-anticipated follow-up to 2019’s WKND FRNDS, Is It Time To Eat The Rich Yet EP is slated for an October 22, 2021 release through House Arrest. Naturally, because of the myriad challenges of the pandemic’s impact in their homeland, their forthcoming EP was completed in a more DIY fashion than their previous released. Much like neighbors, friends, loved ones and countrymen, they experienced and survived some very dark days, but during the EP’s creative process, they oped to write music that was uplifting as a direct reaction to experiencing how a global pandemic needlessly compromised and devastated not only the lives of millions across India, but more personally their own. Through extended periods of economic uncertainty and a corresponding focus to develop and further hone their craft, the EP’s material explores alienation with lyrical wit in fact — “dancing to our doom,” as one band member frames it through pairing bright and sunny sonics with dark and uneasy lyrics. As the band sees it, the EP is essentially a joyful celebration of the human condition — under duress and desperation. And in desperate times, desperate people often find creative ways to make things work as best as they can.

Sonically and aesthetically, the EP reportedly sees the band pushing their sound to the furthest reaches of their influences. During lockdown, the members of The F16s moved in together to hole up and write and record the EP, bringing Harshan Radhakrishnan’s studio with them. They started each day of the EP’s production listening to Frank Sinatra and classic jazz tracks and throughout the day, they would listen to a varied mix of genres from psych rock to post-punk to trap with artists like Vince Staples and The Strokes on repeat. The eclectic listening habits wound up influencing the EP’s eclectic sound and aesthetic.

pop leaning indie rock, it also reflects the fact that we can no long remain oblivious to the social, environmental, economic, and political injustice that plague our world. It shouldn’t be surprising that the members of The F16s saw last year as a year for the “awakening of the oppressed,” especially in their native India, where the pandemic managed to further magnify the stark inequalities between the oppressed poor and working classes and the greed, negligence, incompetence of those in power. And as a result, the dreams of a “swimming pool and a yacht” on WKND FRNDS is completely shattered — and revealed to be vapid and silly.

Is It Time To Eat The Rich’s latest single is the is the swooning “I’m On Holiday.” Centered around twinkling synth arpeggios, shimmering guitars, a steady backbeat, layered multi-part harmonies , “I’m On Holiday” features elements of classic doo-wop, The Beach Boys, 80s synth pop and New Wave and 60s psych pop meshed together in a kaleidoscopic yet accessible fashion — while reminding listeners of their unerring knack for crafting an infectious, razor sharp hooks.

“‘I’m On Holiday’ can be construed as a classic case of denial and delusion behind familiar themes of love and tenderness,” the members of The F16s explain. “The track, like the rest of the EP was perfected during the first wave of the pandemic. In previous releases, WKND FRNDS and Triggerpunkte, the band enlisted outside help for mixing and post-production. The new single and EP had us shifting operations to Josh and Sashank’s place — we set up a makeshift studio to finish it, chopping and changing segments to our hearts content, while Harshan undertook the arduous task of mix engineer. The pandemic, in a way, forced us to work within our means and keep things in-house. It also permeated into our writing, as days passed with the four of us on our phones in different stages of doomscrolling, wondering when the light of respite would show up and bring us back to normalcy.”

Directed by The F16’s Sashank Manohar, the recently released surreal and dream-like lyric video for “I’m On Holiday” features The F16s and Mitra Vivesh. In the background, the band is on a picnic that goes horribly yet comically awry while the stunningly gorgeous Vivesh peacefully sits in the pool of water in the forefront. She’s completely unconcerned with whatever is going on in the background — until one of the band members walks up and grabs her hand.

“Circumstances persuaded us to look within once again while making the video. It began as a minimalist idea that gathered steam within minutes, snowballing into something executable overnight,” the Chennai-based quartet explains in press notes. “Sashank sat in the director’s chair as we sourced our own props and items of importance, while our friend Shantanu Krishnan took the plunge with us as cinematographer. Mitra, the star of the video joined us with zero hesitation, providing the audience with the much needed distraction from our unsightly mugs. The band made up the background, convening for a picnic that goes comically awry, an accurate yet exaggerated reflection of their dynamic. As one (Harshan) proceeds to make mincemeat out of another (Abhinav), a third (Sashank) breaks away from this cycle of antagonism, joining Mitra in the waters to sit serenely, unbothered by the melee.”

Video by William Ruben Helms

Lyric Video: Aussie-born, British-based Artist Jess Chalker Releases a Shimmering, 80s Pop-Inspired Single

Jess Chalker is a Sydney-born, London-based singer/songwriter and producer, who started her career as the frontwoman of Aussie New Wave duo We Are The Brave. Since We Are The Brave’s breakup, Chalker has developed a reputation as a highly sought-after collaborator, who has worked with Sam Fischer, Vintage Culture, Isamachine, Gold Kimono, and Passenger. Chalker was part of the the Grammy Award-winning songwriting and production team that cowrote Lisa Loeb’s lead single on the acclaimed artist’s kids record Feel What U Feel. And recently, the Aussie-born, British-based singer/songwriter and producer composed “Darkest Hour” for the Amazon Original series Panic, performed by Tate McRae.

Chalker steps out into the limelight as a solo artist with her full-length debut, Hemispheres. The album received funding from the Australia Council for the Arts and is slated for a November 5, 2021 release through her own imprint 528 Records. The album was completed under the weight of the pandemic, and as Chalker grappled with the loss of her day job and heartbreaking health issues simultaneously. Much like countless others across the globe, she found herself spiraling and she turned to music for the creative outlet she needed. Collaborating with friends across Sydney, Los Angeles and London, including Dan Long, Josh Humphreys and Chalker’s former We Are The Brave bandmate Ox Why, Chalker wound up finishing what would turn out to be a deeply emotional album. And interestingly enough, she managed to find much longed-for freedom in the process: “Releasing this album is terrifying and thrilling to me,” the Aussie-born, British-based artist says in press notes. “I grew up in a religion that discouraged us from pursuing career success, where women weren’t allowed on stage to address an audience directly. I think it’s why I’ve always tried to avoid the spotlight but, after the year we’ve all had, my perspective on things has changed quite a lot. I’m not wasting any more time doubting myself.”

Sonically, the album reportedly finds Chalker and her collaborators crafting material featuring guitar-driven hooks and retro synths paired with the Aussie-born, British-based artist’s expressive vocals. Thematically, the album deals with themes that explore the dichotomy between depression and hopefulness, self-doubt and self-love and more. Hemispheres’ third and latest single “Don’t Fight It” was cowritten by Chalker. Grammy Award-winning collaborator Rich Jacques and Martjin Tinus Konijnenburg and was co-produced across Los Angeles and London by Chalker and Jacques. “Don’t Fight It” is centered around glistening synth arpeggios, propulsive, reverb-drenched drums, Chalker’s expressive vocals and her unerring knack of crafting a razor sharp and accessible hook. And while sonically being deeply indebted to 80s synth pop with hints of Peter Gabriel, Kate Bush and Prince, the song is full of bittersweet longing and uncertainty while featuring a narrator who’s physically and emotionally lost and confused.

“There’s a bittersweetness to ‘Don’t Fight It’ that I love… It feels both joyful and sad to me,” Chalker explains in press notes. ““It was written at a time when I was going through some personal stuff, trying really hard to please everyone, not really knowing where I fit and becoming someone I wasn’t. In the end I really surrendered to that feeling of being lost, because acknowledging that made me realize I needed to change where I was going.”

The recently released animated lyric video for “Don’t Fight It” was directed by Thomas Calder and fittingly the visual is centered around 80s video game graphics paired with a noir-ish color palette and sensibility.

Video by William Ruben Helms

Lyric Video: JOVM Mainstays Nation of Language Releases a Woozy Ode to Heartbreak and Loss

Rising Brooklyn-based synth pop trio and JOVM mainstays Nation of Language — — Ian Richard Devaney (vocals, guitars, percussion), Aidan Noell (synth, vocals) and Michael Sue-Poi (bass) — can trace their origins back to 2016: Devaney and Sue-Poi were members off The Static Joys, a band that became largely inactive after the release of that band’s sophomore album. And as the story goes, Devaney was inspired to start a new project after hearing OMD‘s “Electricity,” a song he had listened to quite a bit while in his father’s car. 

nterestingly, what initially started out as Devaney fooling around on a keyboard eventually evolved to Nation of Language with the addition of Noell and Sue-Poi. Between 2016-2019, the Brooklyn-based synth pop trio released a handful of singles that helped to build up a fanbase locally and elsewhere.

Last year’s full-length debut, Introduction, Presence was released to critical praise, landing on the Best Albums of 2020 lists of Rough Trade, KEXP, Paste, Stereogum, Under The Radar and PopMatters. They capped off a massive 2020 with the A Different Kind of Light”/”Deliver Me From Wondering Why” 7 inch, which featured the A Flock of Seagulls and Simple Minds-like “Deliver Me From Wondering Why.” 

is slated for a November 5, 2021 release. Reportedly, the album’s material is deeply indebted to 70s Krautrock and electronic experimentalists, essentially pushing their sound towards a new direction. Last month, I wrote about A Way Forward’s first single, the Flock of Seagulls-like “Across That Fine Line,” a song that the band’s Ian Devaney explains “is a reflection on thant moment when a non-romantic relationship flips into something different. When the air in the room suddenly feels like it changes in an undefinable way. It’s kind of a celebration of that certain joyous panic, and the uncertainty that surfaces right after it.”

oozy song centered around shimmering synth arpeggios, a motorik groove, skittering four-on-the-floor and a soaring hook. The end result is a breezy and infectious song that gently plumbs the depths of heartache and loss in a way that sonically — to my ears, at least — bears a resemblance to The Cars “Drive.”

er person has informed so much about how you see yourself. For every bit of progress, there’s just as much retreating, and eventually, it seems like this back-and-forth becomes the new root of your identity – still tied to the same person, just without them actually being there.  

Man Machine-era Kraftwerk, and this simple melody just flowed out. At first, the urge was to go very robotic with it, but a laid-back groove fell into place and gave everything a really warm, spacey, stoned feeling, which felt like it amplified the emotional haze that the song deals with.”

Video by William Ruben Helms

Lyric Video: Cincinnati’s Sungaze Releases a Lush and Anthemic New Single

Cincinnati-based dreamgaze married duo Sungaze — Ian Hilvert and Ivory Snow — can trace its origins back to rather humble origins as Hilvert’s solo recording project: After leaving his long-time gig in a metal band, Hilvert wanted to try his hand at writing more dreamy and introspective material. Snow initially joined the band as a temporary keyboardist, but as the act began to play more shows, her influence on the band grew, helping lead to stronger and more confident songwriting — and eventually to the couple writing much more collaboratively and sharing vocal duties. The end result is a unique sound and songwriting approach that mixes each individual member’s artistic influences and passions. Interestingly, their sound features elements of shoegaze, psych rock, dream pop and a tinge of twang.

Generally, their material is written from personal experience and thematically focuses on human nature, while occasionally touching upon the metaphysical and spiritual. But much of their inspiration comes from a sense of place and a desire to capture the landscapes and spaces they both find enchanting.

The Cincinnati-based duo’s full-length debut, 2019’s Light In All Of It was released to praise from The 405, Austin Town Hall, Cincinnati CityBeat and others. The album eventually landed at #91 on the North American College and Community Radio Charts (NACC), remaining on the charts for more than six consecutive weeks. Building upon a growing profile, Sungaze’s sophomore album This Dream is slated for an August 13, 2021 release.

This Dream’s second and latest single “Body In The Mirror” finds the duo further establishing their sound. Centered around lush layers of shimmering and jangling guitars, a rousingly anthemic hook and Snow’s breathy cooing, “Body In The Mirror” is a seamless synthesis of Slowdive-like shoegaze and Mazzy Star/Still Corners-like dream pop — but while lyrically and thematically focusing on the hard self-reckoning that many of us battled with during the height of the pandemic.

Video by William Ruben Helms

Lyric Video: Paris’ QLAPs Returns with a Glistening Banger

o create accessible, pop-leaning dance music. Earlier this week, I wrote about the French trio’s “I Can’t Wait,” an infectious and swaggering club banger that reminded me of Yelle and JOVM mainstays L’Imperatice.

I don’t want your love,” was released earlier this year, and it continues a run of club friendly material centered around glistening synth arpeggios, sultry vocals, tweeter and woofer thumping beats and a euphoria inducing hook within a song that expresses the coquettish — and somewhat confusing — push and pull of love and lust.

Video by William Ruben Helms

Lyric Video: Nation of Language Returns with A Motorik Groove Driven Bop

Rising Brooklyn-based synth pop trio Nation of Language — — Ian Richard Devaney (vocals, guitars, percussion), Aidan Noell (synth, vocals) and Michael Sue-Poi (bass) — can trace their origins back to 2016: Devaney and Sue-Poi were members off The Static Joys, a band that became largely inactive after the release of that band’s sophomore album. And as the story goes, Devaney was inspired to start a new project after hearing OMD‘s “Electricity,” a song he had listened to quite a bit while in his father’s car.

erestingly, what initially started out as Devaney fooling around on a keyboard eventually evolved to Nation of Language with the addition of Noell and Sue-Poi. Between 2016-2019, the Brooklyn-based synth pop trio released a handful of singles that helped to build up a fanbase locally and the outside world.

ast year’s full-length debut, Introduction, Presence was released to critical praise, landing on the Best Albums of 2020 lists for Rough Trade, KEXP, Paste, Stereogum, Under The Radar and PopMatters. They capped off a massive 2020 with the A Different Kind of Light”/”Deliver Me From Wondering Why” 7 inch, which featured the A Flock of Seagulls and Simple Minds-like “Deliver Me From Wondering Why.”  The act’s latest single “Across That Fine Line” is the first official single off their highly-anticipated sophomore album A Way Forward slated for a November 5, 2021 release.

Centered around shimmering synth arpeggios, a relentless motorik groove, a rousingly anthemic yet dance floor friendly hook and Devaney’s plaintive vocals, “Across That Fine Line” continues a run of crowd pleasing and decidedly 80s inspired material; if you’re a child of the 80s A Flock of Seagulls and few others come to mind.

‘Across That Fine Line’ is a reflection on that moment when a non-romantic relationship flips into something different,” Nation of Language’s Devaney explains in press notes. “When the air in the room suddenly feels like it changes in an undefinable way. It’s a kind of celebration of that certain joyous panic, and the uncertainty that surfaces right after it.  

“Sonically, it’s meant to feel like running down a hill, just out of control. I had been listening to a lot of Thee Oh Sees at the time of writing it and admiring the way they supercharge krautrock rhythms and imbue them with a kind of mania, which felt like an appropriate vibe to work with and make our own.”
 

Video by William Ruben Helms

Lyric Video: Peter Peter Releases an Introspective and Dreamy Meditation on Fading Love

Peter Roy — best known as Peter Peter — is a French Canadian singer/songwriter and guitarist, who started his music career as a member of metal/alt rock act Post Scriptum, a band in which he played guitar and occasionally sang English lyrics. After leaving the band, he relocated to Montreal’s Hochelaga-Maisonneuve neighborhood, where he began a solo career in which he wrote and sang exclusively in French.

In 2008, Roy competed in the annual Montreal-based Ma Premiére Place des Arts contest and won. The French Canadian artist caught the attention of Audiogram Records, who signed him and released his Howard Bilerman-produced eponymous debut in 2011. Adding to a growing profile Roy played in that year’s Les FrancoFoiles de Montreal, a festival in Downtown Montreal featuring Francophone artists from all over the world.

Roy’s Peter Peter sophomore album 2012’s Une verson améliorée de la tristesse was long listed for 2013’s Polaris Music Prize. And since then, Roy has released two more albums: 2017’s Noir Éden and last year’s Super Comédie to critical acclaim across the Francophone world. Roy is currently in the studio working on new material — but in the meantime, Super Comédie’s latest single “Les mariés ont disparu” is a brooding and introspective song featuring shimmering guitars, atmospheric synths and Roy’s breathy and achingly tender vocals. But at its core, the song is centered around an age old tale of fading love and love lost told through the lens of a dreamy nostalgia.

The recently released lyric video was shot on grainy VHS video and fittingly set in an old cemetery that a curious cat wanders around. Some of the gravestones are dedicated to lost loved ones while others seem to have been worn down by time and weather — to the point that the deceased has been erased by time.

Video by William Ruben Helms

Lyric Video: Melrøse Releases a Sultry and Feverish Single

Melrøse is an French electro pop duo — Anne-Camille and Anthony — that can trace its origins back to last June, when the romantic couple and musical collaborators decided to immortalize their relationship in a song, written while in a Los Angeles hotel room. 

Earlier this year, I wrote about the French duo’s debut single “Poolside.” One of the first songs the duo wrote that June night, the single was centered around skittering beats, twinkling keys, swirling electronics and Annie Camille’s achingly delicate and ethereal vocals singing lyrics in French and English. “Poolside” — for me, at least — evoked a mix of Dummy-era Portishead and sultry nights in bed with a lover.

The French duo’s debut EP is slated for a September 21, 2021 release, and the EP’s first official single “Insomnie” is a sensual song centered around twinkling synth arpeggios, a motorik-like groove and Annie-Camille’s coquettish vocals. And while sonically reminding me a bit of Soft Metals’ 2013 effort Lenses, the track evokes a sultry summer night, tossing and turning in your bed — and it being too hot to sleep comfortably.

The recently released video employs a rather simple concept: Melrøse’s Anne-Camille in a dark room, lit with one light bulb, singing the song and swaying to the song’s music. The song’s French lyrics appear below her.