Tag: MTV

New Video: Yelle Serves Up Looks in Sultry and Campy Visual for “Noir”

Acclaimed French electro pop act Yelle — Julie “Yelle” Budet (vocals) and Jean-François “GrandMarnier” Perrier (production, percussion) can trace their collaboration back to around 2000 when Budet and Perrier first met and became friends. But the duo didn’t start working on music together until 2005. Initially formed under the name YEL, an acronym for the phrase “You Enjoy Life,” the duo learned of a Belgian band with the same name, and were forced to change their name, eventually feminizing their original name to “Yelle.”

The duo quickly received attention when they posted a song they originally titled “Short Dick Cuizi,” which originally was a written as a mock diss track that referred to Cuiziner of acclaimed French hip-hop act TTC. The song eventually became “Je veux te voir,” which charted at #4 in their native France, and as a result of the buzz surrounding them, they caught the attention of Source Etc Records, who then signed the act. Interestingly, around the same time that the duo had started working on their full-length Perrier met the band’s now-former third member Destable, who at the time was working full-time as a journalist. As the story went, Baudet and Perrier were desperate for a touring keyboardist to flesh out their live sound, and they somehow managed to rope Destable into joining the band.

2007’s full-length debut Pop Up was released to widespread critical acclaim and was a commercial success as a result of “A cause des garçons,” which landed at #11 on the French Singles Chart and “Parle a ma main,” a collaboration with Fatal Bazooka that landed at number 1. Building upon a growing international profile, Baudet, Perrier and Destable spent a three year period between 2006-2009 touring to support Pop Up — with the band being named as MTV‘s Artist of the Week during the last week of March, 2008.

After taking a few months off, the members of Yelle returned to the studio to began work on their sophomore album, and by February 2010 they started their own label Recreation Center, headed by Perrier. Yelle’s sophomore album, 2011’s Safari Disco Club found the act focusing on harmonies, melodies and Budet’s vocals, and was released to generally positive reviews — including  The Independent, who wrote that the album was “essential for anyone, who appreciates dancefloor-friendly European synth pop.” The album caught the attention of Katy Perry, who invited the act to open for her during the British leg of her  California Dreams tour. After they completed that tour, they went on a European tour and went on a Stateside tour that fall. 

The French electro pop act’s third album, 2014’s Completement fou was co-produced by Dr. Luke and a team of producers that included Kojak, AC, Billboard Mat, Oliver, Cirkut, Mike and Madmax. Dr. Luke learned about Yelle through their remix of Katy Perry’s “Hot n Cold” — and after catching them live, he signed them to his label. The album was supported by extensive international touring, which included their third stop at Coachella, an extremely rare feat for a Francophone act, as well as tours across Europe, South American and China.

The acclaimed French act’s fourth album  L’Ère du Verseau (The Age of Aquarius) was released last September — and much like countless acts across the globe, Baudet and Perrier were gearing up for extensive touring to support the album, and to celebrate their 15th year together. In lieu of touring, the band released incredible visuals for album singles “Je t’aime encore” and “Vue d’en Face,” a breezy yet melancholy track centered around shimmering synth arpeggios, finger snaps, stuttering beats and Budet’s ethereal and achingly plaintive vocals.

L’Ere du Verseau’s latest single “Noir” is a dance floor friendly bop centered around thumping beats, shimmering synth arpeggios, funky bass line and Baudet’s sassy delivery. Interestingly, the song is meant to inspire the listener to strut like they’re on the catwalk, serving fools looks — hard.

Directed by Giant, the recently released video for “Noir” is a campy and fierce as fuck take on haute couture that features beautiful people serving up looks with fierceness while looking like behind the scenes footage of a photo shoot.

New Video: Willy Mason Releases a “120 Minutes”-like Power Chord Anthem Paired with Mischievous and Lo-Fi Visuals

Willy Mason is a White Plains-born, West Tilbury, MA-based singer/songwriter and guitarist, who has released three full-length albums — 2004’s Where The Humans Eat, 2007’s If The Ocean Gets Rough and 2012’s Carry On.

Slated for an August 6, 2021 release through Cooking Vinyl, Already Dead is the White Plains-born, West Wilbury-based singer/songwriter’s fourth album — and the first batch of full-length material from Mason in over nine years. Thematically, the album reportedly explores honesty, deception, anonymity in the digital age, good intentions with unexpected consequences, freedom, colonialism, love, God and purpose. “Already Dead is a spiritual state to aspire to; it is freedom from the trappings and inhibitions of one’s ego, culture, and mythology. It is freedom and love and freedom to love in the face of death,” Mason explains. “It’s about the necessary destruction of one’s mythology; mythology of species, sex, race, nation, self. It’s about the pain and tragedy that comes with such destruction, but also about the freedom, possibility and opportunity for reconciliation; reconciliation with the natural world and with each other.”

Reportedly one of the harder songs in his growing catalog, Already Dead’s latest single “Youth On A Spit” is a 120 Minutes MTV-era alt rock-like anthem centered around scuzzy power chords, propulsive drumming, and Mason’s ironically delivered lyrics, which are both a bold declaration of insouciance and invincibility and an incisive commentary on post-modern life. And because of its relatable yet rousingly anthemic hook, the song may remind some listeners of 90s era Beck.

“‘Youth On A Spit’ is about the struggle for freedom and identity that comes from growing up in an advertising based culture. The refrain ‘you can’t kill me I’m already dead’ is about the liberation that comes with disillusionment,” Mason explains.

Director by Noel Heroux is a lo-fi and lysergic romp that’s partially a journey through boring suburbia and a partially a journey through hell, competed with Mason being practically in the hellfire.

New Video: Toronto’s Jiants Release an Anthemic Brit Pop-like Single

With the release of their critically applauded self-titled debut, 2016’s self-titled debut, Toronto-based Jiants — former professional skateboarder Jesse Landen (vocals, guitar), Adam Kesek (bass), John Sirdevan (drums) and the band’s newest member Joe Delfin (lead guitar) quickly established a sound that meshes 90s alt rock with sensibilities. 2018’s Taylor Knox co-produced follow-up Odd Trouble found the band meshing infectious rifts, melodic keyboard lines and Landen’s vocals to create a sound that managed to be nostalgia-inducing yet wholly theirs.

Earlier this year, the Toronto-based indie act released their latest EP, Wait Here and the EP’s latest single “Some Kind of Loser” is a decidedly Brit Pop-inspired anthem, featuring a gorgeous and cinematic string arrangement by Drew Jurecka, layers of shimmering guitars and rousingly anthemic and dryly ironic chorus paired with Landen’s plaintive and sun-cracked vocals. Sonically, the track — to my ears, least — reminds me quite a bit of Urban Hymns-era The Verve, Love Is Here-era Starsailor and Oasis. But as the Landen and company admit in press notes. “Some Kind of Loser” “is about charting your own path. These lyrics reflect on how it would ultimately be beneficial learning to work together and respect each other’s paths.”

The song was “born out of a rough day in the studio that was followed by some upcoming shows falling apart in advance,” Jiants’ Jesse Landen continues. “I was half-hoking around thinking about much time and energy I was spending obsessing over music stuff and feeling like a bit of a dork. I think everyone can relate to that in some way. But that’s when it dawned one me that sometimes you might have to just learn to enjoy the rollercoaster because I know that I was going to continue making and sharing music, regardless of the results.”

Directed by Hart Dylan Webster, the recently released visual for “Some Kind of Loser” is a cinematic ode to 120 Minutes-era MTV.

With the release of their full-length debut, 2019’s ten-song Kenny Jones-recorded and produced Blind Reflection the Metz, France-based act OSTED quickly established a sound that blues the lines between indie rock and post punk with an expansive sonic palette.

Although they weren’t able to tour as a result of pandemic related lockdowns and quarantines, the emerging French act managed to have a rather auspicious 2020: they returned to the Jones’ London-based Alchemy Studio to record the follow-up to their debut, the forthcoming Collecting Memories EP. And they signed with Endless Night Records at the end of last year.

The EP’s latest single “Sarajevo” is a brooding song centered around an angular and propulsive bass line, shimmering guitars, thunderous drumming, rousingly anthemic hooks and dry yet achingly plaintive vocals within an expansive song structure. Interestingly, the song is a perfect example of their sound: a subtle mix of Joy Division post-punk, shoegaze and 120 Minutes-era MTV all rock with seemingly lived-in lyrics.

Look for Conflicted Memories EP on April 30, 2021.

New Audio: Montreal’s Alex Elliot Releases an Introspective, Mosh Pit Friendly Single

Montreal-based singer/songwriter and guitarist Alex Elliot’s full-length debut Tommy! thematically explored its titular main character’s misguided nature and his relationship with himself. Yellow Fog, Tommy!’s follow-up was released earlier this month, and the album continues the story of Tommy — and while delving into his mind, the album thematically explores his relationships with others: “It’s all about how people can came in and out of your life,” Elliot explains in an email to me. “About how you build pieces of life iowan people coming in, staying for a while, and then leaving, before it all starts again and again. It’s not about love but more about friendship, and all kinds of human connections that help you build yourself but always end with bitterness.”

“We Are Reckless,” Yellow Fog’s latest single is a decidedly 120 Minutes-era MTV alt- rock anthem, centered around fuzzy and distorted power chords, angular and propulsive bass lines and a thumping back beat, a rousingly anthemic hook, and Elliot’s disaffected yet somehow earnest delivery. But underneath the song’s mosh pit friendly air, the song feels desperate, uncertain and confused.

“‘We Are Reckless’ describes the beginning of this endless circle, when it’s all new, when you do feel reckless cause everything is still possible,” Elliot explains. “This song is about how it always begins. It is the naive track. The rest of the album drives the man to resignation.”

Best known for being a member of Me You Us Them, Brooklyn-based singer/songwriter and bassist Ian Ljungquist has stepped out on his own with his solo recording project Time Travel Ban.

During quarantine isolation, Ljunqquist was rather productive: he wrote and recorded Time Travel Ban’s five-song debut, Smoke & Mirrors in a Brooklyn-based rehearsal space. Seemingly inspired by 120 Minutes MTV-era alt rock like My Bloody Valentine, Hum, Jawbox, Shiner, Foo Fighters, and Ringo Deathstarr, the EP’s material will likely be nostalgia-inducing yet fresh sounding.

The EP’s material was carefully assembled by stacking layers of woozy guitars and chugging low-end atop of structure of persistently pounding rhythms. The EP’s latest single “Free Me From Myself” is a great example of what listeners should expect: rousingly anthemic hooks, woozy, pedal-effected power chords, a motorik-like chug of a rhythm and thunderous drumming. And while this particular song sonically manages to remind me a bit of Finelines-era My Vitriol, the song feels urgent and desperate. As Ljungquist explains in press notes, the song is about the feeling as though you were trapped within your own malfunctioning mind — without respite or escape.

New Video: Marcelo Deiss Releases a Trippy Visual for Anthemic “Horses Running”

Marcelo Deiss is a São Paulo-born, London-based artist whose music effortlessly blues the lines between indie rock, blues, folk and hard rock. Heavily influenced by visual artists like Steve Cutts and John Holcroft, Deiss’ work thematically touches upon social alienation, absurdity, despair and human greed — with an ironic, darkly humorous and satirical eye for the absurd in our every day lives. “Cutts and Holcroft’s work embodies a powerful and scary message about humankind which we can all really relate to as human beings. Their work really helped create a clear vision of what I was trying to achieve sonically,” the Sao Paulo-born, London-based artist says in press notes. Typically his work attempts to force audiences to see the obvious absurdities that frequently go unnoticed in our daily lives, by highlighting the news and situations that we all see but conveniently ignore, and the news we hear but don’t really listen to, from our overuse and dependency on technology, to our shitty economic policies and our strange daily customs.

Deiss’ latest single, the 120 Minutes-era MTV-like “Horses Running” is centered around his Bob Dylan-like delivery — half spoken, partially crooned and seemingly boozy delivery, fuzzy power chords, blasts of simmering synths, twinkling keys and rousingly anthemic hooks. And while the song sonically hints at Odelay-era Beck, JOVM mainstays Sego, classic blues and folk, the track is fueled by righteous indignation: its thematic focus is on the greed and social disaffection that could wind up killing all of us and destroying what’s left of the Earth.

It shouldn’t be surprising that “Horses Running” holds up a mirror to our world and was inspired directly inspired by Brexit, our long national nightmare of Donald Trump, the #MeToo and Black Lives Matter movements, and others that deal with the impact of oppression, plus his own observation that the worlds of Brave New World, 1984 and The Year Of The Flood aren’t very far from our own.“I think it’s important to discuss topics about our society and the current problems we face together in the modern world,” Deiss says in press notes. “This to me seems more relevant due to the current situation our society is facing right now.”

Since the release of “Horses Running,” Deiss wrote, recorded and released his latest EP HURL and is currently finishing up his full-length debut. But in the meantime, the Brazilian-born, British-based singer/songwriter released a trippy and mind-bending Sergio Angot, Marcelo Deiss and Habacuque Lima co-directed and co-edited visual featuring stock footage, animation, a ballet dancer on London streets and footage of Deiss in the studio.

New Video: Rising Aussie Dream Pop Act Aeroplane Mode Releases a Shimmering Ode to New Crushes

With the release of their debut single “Settle Down,” the Melbourne-based dream pop act Aeroplane Mode –Brandon Bergin (vocals, guitar), Sinead Horne (vocals, synths), Carlos Tinsey (bass) and Will Clancy (drums) — quickly exploded across the Aussie music scene: Violent Soho’s James Tidswell signed the band to his Domestic La La Record Club, and the single has received airplay on Triple J Unearthed’s TOPS and Triple J. The song was also added to the Spotify Editorial playlist “fuzzy.”

Building upon the growing momentum surrounding them, the rising Aussie dream pop act released their second single “In A State.” Centered around shimmering and atmospheric synths, jangling guitars, an infectious hook and Brandon Bergin’s plaintive vocals, the Carlos Tinsey penned “In A State” brings 120 Minutes MTV-era alt rock and New Zealand jangle pop to mind, while capturing the swooning, butterflies in the stomach feeling of a new crush. It’s a decidedly upbeat song that finds the band making a specific effort to point out that they have two front people — and with each frontperson, they’re able explore different vocal aesthetics, moods and soundscapes.

Produced by Sucker Co., the recently released video for “In A State” was shot and edited by Aden McLeod. The video features intimately shot footage of the rising Aussie dream pop quartet in front of rapidly changing, brightly colored backgrounds and playfully nostalgic scenes featuring Brandon Bergin on a swing, on a dial tone phone. The video manages to emphasize the song’s dreamy nostalgia-tinged breeziness.

New Video: French Electro Pop Act YELLE Teams Up with Nicolas Maury on a Surreal and Mischievous Visual

Acclaimed French electro pop act Yelle — Julie “Yelle” Budet (vocals) and Jean-François “GrandMarnier” Perrier (production, percussion) can trace some of their origins back to 2000 when Budet and Perrier first met and became friends — but the duo didn’t start workin on music together until 2005. Initially formed under the name YEL, an acronym for the phrase “You Enjoy Life,” the duo had to change their name when discovered a Belgian band under that name. So they feminized the name to “Yelle.”

The members of Yelle quickly received attention when they posted a song originally titled “Short Dick Cuizi” on MySpace. The song eventually became “Je veux te voir,” but interestingly the song originally referred to Cuiziner of French hip-hop act TTC — and was initially released as a mock diss track. The track was commercial success and charted at #4 in their native France, and as a result of the buzz surrounding them, the French electro pop act caught the attention of Source Etc Records, who later signed the act. Around the same time that Budet and Perrier started working on their full-length debut, Perrier met the band’s now-former third member Destable, who was working full-time as a journalist. As the story goes, the duo were desperate for a touring keyboardist and they managed to rope Destable into the joining the band.

2007’s full-length debut Pop Up was released to widespread critical acclaim and was a commercial success as a result of “A cause des garçons,” which landed at #11 on the French Singles Chart and e “Parle a ma main,” a collaboration with Fatal Bazooka that landed at number 1.

Building upon a growing international profile, Baudet, Perrier and Destable spent a three year period between 2006-2009 touring to support Pop Up — with the band being named as MTV‘s Artist of the Week during the last week of March, 2008. After taking a few months off, the members of Yelle returned to the studio to began work on their sophomore album, and by February 2010 they started their own label Recreation Center, headed by Perrier.

Yelle’s sophomore album, 2011’s Safari Disco Club found the act focusing on harmonies, melodies and Budet’s vocals, and was released to generally positive reviews — including The Independent, who wrote that the album was “essential for anyone, who appreciates dancefloor-friendly European synth pop.” The album caught the attention of Katy Perry, who invited the act to open for her during the British leg of her California Dreams tour. After they completed that tour, they went on a European tour and went on a Stateside tour that fall.

The French electro pop act’s third album, 2014’s Completement fou was co-produced by Dr. Luke and a team of producers that included Kojak, AC, Billboard Mat, Oliver, Cirkut, Mike and Madmax. Dr. Luke learned about Yelle through their remix of Katy Perry’s “Hot n Cold” — and after catching them live, he signed them to his label. The album was supported by extensive international touring, which included their third stop at Coachella, an extremely rare feat for a Francophone act, as well as tours across Europe, South American and China.

Last September saw the release of the acclaimed French act’s fourth album L’Ère du Verseau (The Age of Aquarius). Much like countless acts across the globe, the members of Yelle were gearing up for extensive touring to support the new album before the pandemic. But to celebrate their 15th year together, the band collaborated with Loïc Prigent for the video for “Je t’aime encore.” Interestingly, the album’s latest single “Due d’en Face,” is a breezy yet melancholy track, centered around shimmering synth arpeggios, finger snaps, stuttering beats and Budet’s ethereal and achingly plaintive vocals.

Directed by Giant, the recently released video or “Vue d’en Face” stars Budet and renowned French actor Nicolas Maury as a pair of star-crossed doppelgängers — of sorts — who perform a series of Tik Tok-inspired dances, while managing to get close enough to the point of being completely inseparable.