Tag: music video

New Video: South Korea’s Say Sue Me Releases a Hilarious and Goofy Take on B Movies for “B Lover”

Currently comprised of founding members and childhood friends Jae Young (bass) and Kim Byungkyu (guitar) with Sumi Choi (vocals) and Kim Changwon (drums), the Busan, South Korea-based indie rock quartet Say Sue Me can trace its origins to when its founding members Young and Byungkyu, who had played together in a number of bands together throughout high school were drinking tea and beer in a Nampo-dong tea shop when they met Choi. Young and Byungkyu liked Choi’s speaking voice and immediately offered her a spot as the vocalist in a band that would eventually become Say Sue Me. Coincidentally, as it turned out, Choi turned out to be a natural songwriter. The bandmates then recruited Kang Semin to play drums — and with him, they recorded their full-length debut We’ve Sobered Up, which established the South Korean band’s reputation for crafting a sound that draws from 60s surf rock and 90s alt rock. And with Semin, they recorded 5 songs of their sophomore album Where We Were Together before having a near fatal accident that has left him in a near comatose state. 

Deciding to continue onward while hoping for their dear friend and bandmate’s recovery, the band recruited Changwon and finished their sophomore album, which interestingly enough marks their first album recorded in a professional studio. Unsurprisingly, the album’s material reflects both professional studio polish and a young band that has grown more confident in their songwriting and playing — all while managing to be a tribute to their fallen bandmate that focuses on the emotional fallout over the loss of their friend. As the band says in press notes, “We made 5 of the songs on Where We Were Together with Semin before his accident, and of the remaining songs on the album 4 of them (“Let It Begin,” “Funny and Cute,” “B Lover,” and “About The Courage To Become Someone’s Past”) are about Semin or made with him in mind.

Although we can’t be together right now, we decided to give the album this title because it reminded us of everything we’ve shared with Semin. And what’s more, sometimes we’ve thought if we make this album a wish to return to the place we were together, some powerful spell might rise up. Who knows if it’s even possible but sometimes we think maybe it could work.” 

The South Korean indie rock quartet’s latest 7 inch single features two singles from “Just Joking Around,” a song that was cut from their latest album  but features a line from which the album’s title is derived and “B Lover,” a brash and scuzzy power chord-based garage rock/punk rocker burner that the band explains was originally written for Semin’s other band Barbie Dolls, who play insanely fast garage rock/punk. The song’s lyrics were written as a tribute to their dear friend’s mischievous ways and desire to “just let go of worries about the future, buy as much good beer as we wanted.” They go on to say that Semin’s jokes and tastes were like those in a B movie with a Type-B personality, “so we stuck the name B Lover on the song.”  While “B Lover” is an incredibly self-assured, almost swaggering sort of track, it possesses the wistful air of missing a dear friend, who’s one of life’s true characters. 

The recently released video for “B Lover” is a mischievous take on classic B movies — featuring a local garage rock band, playing on their local beach, as well as Kung Fu movies and action movies. It’s ridiculously tongue-in-cheek in every possible way and pretty damn funny. 

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New Video: Mudhoney’s Searing Indictment of Social Media Culture

Currently comprised of founding members Mark Arm (vocals, rhythm guitar), Steve Turner (lead guitar) and Guy Maddison (bass), along with Dan Peters (drums), who joined the band in 1999, the Seattle, WA-based alt rock/grunge rock band Mudhoney officially formed back in 1988  — although the band can trace its origins to the breakup of Green River, a proto-grunge band that at one point featured Alex Vincent (drums), Jeff Ament (bass), Steve Turner, and Stone Gossard (guitar). After releasing two EPs, and several lineup changes, Green River eventually split up with Bruce Fairweather, Gossard and Ament eventually joining Mother Love Bone. Now, if you know your grunge history, you’d know that after Mother Love Bone’s Andrew Wood died from an overdose, Gossard and Ament went on to form Pearl Jam while Arm and Turner reunited to form Mudhoney, and the rest as they say is history — right?

Mudhoney’s earliest releases through Sub Pop Records — namely “Touch Me I’m Sick” and the Superfuzz Bigmuff EP wound up becoming massively influential with the band being credited as being the godfathers of Seattle’s grunge rock sound, a sound that we all know is generally centered around scuzzy, distortion pedal heavy power chords. But despite their towering influence on alt rock, the band has never really seen much commercial success — although Nirvana covered Mudhoney during their legendary Unplugged, filmed and recorded a few weeks before Kurt Cobain’s suicide.

Slated for release later this week through their longtime label home, the beloved Pacific Northwest-based grunge legends tenth full-length album Digital Garbage is reportedly, one of the band’s most sociopolitically incisive and blistering albums they’ve recorded; in fact, Digital Garbage‘s first single “Paranoid Core” captures the distrust of experts and facts, the rampant fear-mongering and emotional exploitation and the very primal, lizard-brained instinctual response that rules our current zeitgeist. And its all centered around boozy, old school punk rock guitar chords, a propulsive back beat and bass line. Western civilization and American democracy collapsing before our very eyes but goddamn it, there’s at least rock ‘n’ roll to save our souls for a little bit. “Kill Yourself Live,” the album’s latest single is a searing indictment of our vapid and incredibly insipid reality TV-show and social media-based culture, suggesting that people could literally kill themselves live on a TV show or on Instagram Live — and it would likely be highly rated or get a shit ton of likes on the ‘gram baby. Considering that the President of the United States is a reality TV Internet troll, anything — holy shit, anything is fucking possible. Sonically speaking, the single continues in a similar vein as its predecessor — but manages to nod at DEVO and 60s psych rock simultaneously for a subtle mind trip.

Directed by Carlos A.F. Lopez, the recently released video for “Kill Yourself Live” reimagines Jesus Christ’s crucifixion taking place in an anachronistic mix of Biblical times and our hyper-connected, social media world and as a result, it points out humanity’s propensity for cruelty and selfishness, the insatiable desire to be liked in a way that’s both disturbing and hilarious. 

New Audio: Introducing the Ominous Post Punk of Belgium’s Whispering Sons

Although formed back in 2013, the Brussels, Belgium-based post punk act Whispering Sons, comprised of Fenne Kuppens (vocals), Kobe Linjen (guitar), Sander Hermans (synths), Tuur Vanderborne (bass) and Sander Pelsmaekers (drums) received attention nationally with the release of 2015’s debut EP Endless Party through Wool-E-Tapes with a vinyl reissue in March 2016 through Minimal Maximal. Adding to a growing profile, the band won 2016’s Humo’s Rock Rally, one of Belgium’s most prestigious music competitions, which they followed up with two 7 inch releases, 2016’s “Performance”/”Strange Identities” and last year’s “White Noise.” 

Building upon a growing profile in their homeland, the Belgian post punk outfit’s full-length debut Image is slated for an October 19, 2018 release through Cleopatra Records here in the States and Smile Records throughout the rest of the world — and the Micha Volders and Bert Vliegen-produced album which was recorded over a ten day period at Waimes, Belgium’s GAM Studios will further cement the band’s reputation for crafting tense and ominous post-punk, while attempting to accurately capture both their live sound and the sense of anxiety and alienation that the bandmembers felt upon their relocation to Brussels. 

Speaking of ominous, Image’s second and latest single “Alone” is centered around angular and shimmering guitar lines, an angular and propulsive bass line, thundering and mathematically precise drumming, and a slick, yet infectious hook — and while sonically the song may recall Joy Division, Actors, Deathlist, True Moon, Second Still and others, the song’s refrain is derived from part of a cryptic bit of dialog spoken during Twin Peaks’ first season. 

Produced by The Breakfast Club and directed by Koen Blauwblomme and Pieter De Ridder, the recently released video for “Alone” takes it cues from horror films and Twin Peaks as it follows our protagonist as he goes completely mad  — at one point, the protagonist see his doppleganger, completely immolated in flame, before quickly realizing that his doppleganger is his reflection.  

New Audio: Calvin Johnson Returns with a Meditative Bit of Bubblegum Pop

 Over the past couple of months, I’ve written quite a bit about Calvin Johnson, an  Olympia, WA-born and-based guitarist, singer/songwriter, producer and DJ best known as a founding member of Cool Rays, Beat Happening, The Go Team and The Halo Benders, all of which prominently feature his sonorous baritone. He’s also the founder and owner of renowned indie label K Records — and he was one of the major organizers of the International Pop Underground Convention.

Now, as you may recall, Johnson’s forthcoming A Wonderful Beast is slated for an October 12, 2018 release through his own K Records, and the album, which was recorded at  Audio Eagle Studios in Nashville, TN finds Johnson collaborating with the The Black Keys’ Patrick Carney, who cowrote and produced the album and Michelle Branch, who contributes backing vocals on three songs.  Johnson can trace the origins of his collaboration with Carney back to 2005, when the Olympia, WA-based singer/songwriter guitarist, producer and DJ was on a Stateside tour to support his sophomore solo album Before the Dream Faded — and Carney and Johnson met during that tour. As the story goes, the two kept in touch over the years, with Carney suggesting that they should collaborate; but based on their schedules they were only able to work with each other recently. Branch, a solo artist of note is best known for being a member of The Wreckers, and as it turns out that she lives next door to Audio Eagle Studios. Intrigued by the sounds she heard from the shack that houses the studio, she walked over to see for herself what was going on, and she wound up on the album.

“Kiss Me Sweetly,” A Wonderful Beast’s first single was centered around a 60s bubblegum pop-like arrangement featuring a propulsive rhythm section consisting of a thumping, almost boom-bap-like backbeat, a funky bass line and blasts of swirling, kaleidoscopic guitar playing — but by far, the star of the song is the harmonizing between Johnson’s rich, sonorous baritone and Branch’s ethereal soprano, which further emphasizes the song’s swooning nature.  The album’s second single was the Tom Vek meets bubblegum pop-like “Like You Do,” a track that features jagged blasts of guitar, soaring synths and a dance floor friendly hook — but unlike its predecessor, the album’s latest single possesses a mischievous irony at its core, as it features a self-obsessed, self-absorbed narrator, who only sees his own greatness. Interestingly, the album’s latest single “(I’ve Still Got) Sand In My Shoes”  continues in a similar vein as its predecessors, as its a bubblegum pop-inspired yet meditative arrangement, featuring an angular and propulsive rhythm section and blasts of swirling guitar and synth lines, centered by Johnson’s sonorous baritone and Branch’s ethereal vocals harmonizing to give the song a breezily coquettish yet wistful air. It’s the sound of another summer ending, of cooler weather coming and the impending end of yet another year. 

New Video: Introducing the Slickly Produced and Mediative R&B of Honors

Honors is an up-and-coming Canadian indie R&B act that quickly emerged into the international scene with the release of their #1 Global Viral Spotify chart hit “Over” — although their success wasn’t an overnight one. The members of the up-and-coming act met over a decade ago and have worked in a number of different projects before forming Honors. Their latest single “Feel Better” will further cement their reputation for slickly produced and atmospheric material that effortlessly bridges trap, contemporary electro pop and contemporary R&B as the song features achingly tender vocals, thumping beats and a sinuous hook.

Interestingly, while seeming bleak sonically, the song is unabashedly positive, with its narrator actively seeking light in extremely dark times, suggesting that there’s frequently some sort of struggle before achieving any sort of success; in fact, the song may be among the most personal they’ve ever released, as its inspired by the bandmembers own personal struggles, while trying to make it as artists.  In another way, it’s also a reminder that the journey is as important as the destination; that without understanding the journey, the destination doesn’t make much sense. 

Directed by Nikola Crnobrnja, the recently released meditative video for “Feel Better,” features the members of the Canadian act driving around without much of a destination. As the members of the band explain in press notes. “We didn’t want to make traditional, or narrative based videos on our new project ‘Feel Better,’ so instead we wanted to imagine a visual counterpoint to the emotion and feeling of the song. Driving is transportative literally, but also metaphorically. It is very introspective. For us ‘Feel Better’ is an autobiographical song about making peace with the journey, while continuing to move forward in the direction of your dreams.”

New Video: Up-and-Coming Danish Artist Selma Judith Releases Vulnerable Visuals for Intimate, Debut Single “Kind Of Lonely”

Selma Judith is a heavily tattooed Copenhagen-Denmark-based harpist, who was best known for collaborating with The National’s Arron and Bryce Dessner, Vera, and MØ among others; however, with the release of her debut single”Kind Of Lonely,” the Danish harpist has revealed that she specializes in a delicate, woozy yet swooning and heartfelt electro R&B, centered around a production of stuttering beats, Selma Judith’s self-assured and sultry vocals, ethereal synths and a sinuous, Quiet Storm-like hook. As the up-and-coming artist says of the song, “Sometimes you love someone ‘despite of…’, instead of ‘because of…’. This doesn’t necessarily mean that the emotions we feel for the person are any weaker – it can be quite the contrary. This kind of relationship can reach wuthering heights, but although the view might be grand and beautiful, the fall is further down. The thin air up in these clouds is addictive, but in the long run, it can really damage you.”

Directed by Masha Koppel, the recently released video was shot in single take and captures Selma Judith in an incredibly simple, intimate, vulnerable fashion  — a young woman in her apartment, playing with her cat, singing along to her song before moving to her bathroom to undress and shower, before ending with her casually smoke a cigarette out of her window.

New Video: JOVM Mainstay Boys Noize Teams Up With Steven A. Clark on an Industrial Take on Adamski and Seal’s Classic “Killer”

Throughout the course of this site’s eight year history, I’ve written quite a bit about Berlin, Germany-based JOVM mainstay producer, electronic music artist, DJ and Boys Noize Records label head Alex Ridha, best known as Boys Noize. Now it’s been a while since I’ve personally written about Ridha, but he’s been remarkably busy as he’s released 2016’s Mayday and has spent the past couple of years collaborating with a diverse and impressive array of artists including Lady Gaga, 03 Greedo, A$AP Rocky, RL Grime and Steven A. Clark.

Interestingly enough, while working with Clark on his recently released Where Neon Goes to Die, Clark and Ridha bonded over a mutual love and appreciation of Seal and Adamski’s “Killer,” an acid house anthem that dominated European charts in 1989, appeared on Seal’s eponymous 1990 self-titled debut and covered by George Michael in 1993. Clark’s and Ridha’s cover hews closely to the original but with a punchier and harsher, industrial take on the house music classic. It’s subtly 

As Ridha says of the cover, “Being a 90’s kid, I kind of grew up with this song which later became one of these tunes I’d play out at the end of the night. When I met Steven and heard his voice for the first time I immediately thought of that track and the idea of doing a cover version was born. It was initially just for fun, but it turned banging and lit the dancefloors wherever I’d drop it – so here I am sharing my industrial KILLER.”

Directed by long-time collaborator LIL INTERNET, the recently released video is a remake of the original video, shot at Berlin’s c-base, known for being “the mother of all hackspaces,” with the bulk of the video shot in a space referred to the “airlock,” with the members of the c-space crew referring to themselves as a Space Station. 

New Video: The Cavemen Return with a Scuzzy and Boozy New Single Paired with Debauched Visuals

Earlier this year, I wrote about the Auckland, New Zealand-based punk rock quartet The Cavemen, and as you may recall, the band which was originally comprised of Paul Caveman (vocals), Jack Caveman (guitar, vocals), Nick Caveman (bass) and Jake Caveman (drums), formed while in high school — with the band’s founding members bonding over a shared love of glue and wild rock ‘n’ roll. After spending several years drinking and loitering around their hometown’s basements, graveyards and parking lots, the band’s original lineup honed their sound and over the course of 2014-2015 or so recorded their full-length debut, which received attention locally for material that could be roughly described as face-melting and furious punk that drew from The Ramones, The Cramps, The Stooges, The MC5 and others but thematically focused on grave-robbing, necrophilia and other weird shit with a sneering sense of humor; in fact, they’ve developed a reputation for being infamous — or as the band once claimed they were a “great band to clear a party.” 

As the story goes, just two weeks before the members of The Cavemen were to relocate to London, they went on an infamous national tour to support their debut album, and unsurprisingly, the tour included an ill-fated graveyard tour that had to be canceled when the band’s Nick Caveman died in a tragic car accident: their tour van’s engine exploded, and as Nick Caveman was trying to see what was wrong, a passing motorist hit him. Now as you’d also recall, the British record label Dirty Water Records re-released their debut album for release in Europe and elsewhere, and from album single “Stand By Your Ghoul,” the band specialized in filthy, cretinous punk, centered around fuzzy power chords and howled lyrics. Unsurprisingly, the band has released the “Burn Out For Love” 7 inch and it’s a boozy, grimy and filthy punk ripper, full of power chords, amphetamine-fueled drummer and howled vocals. Sonically speaking, the song brings to mind, punk’s riotous boozy and revolutionary roots. 

The accompanying video is a cheap and scuzzy cut and paste job on the Mexican punksploitation film Intrepidos Punks featuring the prerequisite debauched orgy of car crashes, breasts and gratuitous biker violence. Enjoy! 

New Video: Introducing the Psych Pop-Inspired Sounds of Sweden’s Mysterious Kallblod

Kallblod is a rather mysterious Swedish electro rock duo that have begun to receive attention with the release of their debut single “Bone & Cream,” which finds the act effortlessly meshing 60s psych pop and 80s New Wave in a way that’s mischievously anachronistic and lushly textured as the duo pair jangling guitars, shimmering synths and an infectious hook.

The recently released music video follows our mysterious — and masked duo — through their own hilariously adorable relationship, including kids and marriage, but before that through a series of weird adventures.

New Video: JOVM Mainstays Stonefield Returns with a Decidedly Psych Rock-Inspired New Single

Over the past year or so, I’ve written quite a bit about the Darraweit Guim, Australia-based sibling psych rock quartet Stonefield, and as you’d recall the Australian band comprised of Amy (drums, lead vocals), Hannah (guitar), Sarah (keys) and Holly Findlay (bass) began playing together when they were extremely young — the youngest member was seven while the oldest was 15. And as the story goes, the eldest sister Amy recorded their first song “Foreign Lover” for a school project, and then reportedly entered the song into Triple J’s national, unsigned band competition for youngsters Unearthed High as an afterthought. Much to her and her sisters’ surprise, the band wound up winning the contest, and within an incredibly short period of time after their Unearthed High win, the Findlay sisters had two singles receiving regular airplay on Australian radio and an invitation to play at Glastonbury Festival.

Since their attention-grabbing Unearthed High win, the Australian sibling quartet has been incredibly prolific as they’ve written, recorded and released two EPs, their self-titled full-length debut, their sophomore album As Above So Below and their third album Far From Earth through King Gizzard and the Lizard Wizard’s Flightless Records earlier this year. Stonefield is currently on a North American tour to support both their recently released 7 inch and their third album that will include stops at Desert Daze, Toronto’s Night Owl Fest, Mexico City’s Hipnosis Festival and a special NYC area show at Baby’s All Right to celebrate the release of the “Through the Storm” 7 inch, a single that finds the Australian sibling and and JOVM mainstays cementing their reputation as one of the world’s hardest bands, while pushing their sound towards a new direction — doom metal with hints of 60s psych rock in a way that brings Black Sabbath, Soundgarden and Alice in Chains to mind.

Interestingly, Far From Earth’s latest single “In The Eve” is  slow-burning, hypnotizing song that may arguably be the most decidedly 60s psych rock-inspired song centered around a propulsive and sinuous bass line, shimmering guitar lines, Amy Findlay’s ethereal vocals and a gently unfurling yet song structure — and sonically speaking, the song brings to mind JOVM mainstays Sleepy Sun, Secret Colours, and Elephant Stone but with a clean yet sensual sheen. The recently released video is equally hypnotic while visually drawing from 60s psych rock as it features the Findlay Sisters dressed entirely in white, wandering in a prototypically British field — and in some way it hints at some menacing ritual about to go down.