Tag: music

New Video: Gorillaz Collaborates with Peven Everett on Their Most House Music-Inspired Track in Years

Created by Blur frontman and founding member Damon Albarn and renowned comic book artist Jamie Hewlett, Gorillaz is a virtual band, featuring animated characters 2D (vocals), Murdoc Niccals (bass), Noodle (guitar) and Russel Hobbs (guitar) that exploded into with the international scene with the 2001 release of their eponymous debut. The BRIT and Grammy Award-winnng act has since released three critically applauded and commercially successful albums — 2005’s Demon Days, 2010’s Plastic Beach and 2011’s The Fall and with each of their four previously released albums the act has topped charts around the world, receiving millions of streams, selling millions of copies and playing arenas, clubs and festivals from San Diego to Syria. Along with that the act has won the Jim Henson Creativity Honor and have been recognized by The Guinness Book of World Records as the planet’s Most Successful Virtual Act. 

Humanz, the virtual act’s fifth and latest album was released to critical applause last month and the album has continued the band’s incredible run of commercial successes with the album landing at number 1 and number 2 on the US and UK charts respectively, as well as topping the iTunes chart in over 60 different countries. Produced by Gorillaz, The Twilite Tone of D /\ P and Remi Kabaka, the album was recorded in studios in London, Paris, New York, Chicago and Jamaica and has the members of the virtual band — er, Damon Albarn and company — collaborating with an eclectic and accomplished array of contemporary artists including Savages’ Jehnny Beth, Danny Brown, Benjamin Clementine, De La Soul, D.R.A.M., Anthony Hamilton, Grace Jones (!!!), Zebra Katz, Mavis Staples (!!!), Vince Staples, Popcaan, Pusha T., Peven Everett and others. 

Humanz’s latest single “Strobelite” features the members of Gorillaz collaborating with Harvey, IL-born, Chicago, IL-based multi-instrumentalist and vocalist Peven Everett, an artist whose work has spanned across R&B, jazz, hip-hop and house music.  The Harvey, IL-born, Chicago-based artist received a scholarship to Berklee College of Music when he was 17 before leaving to collaborate with the likes of Betty Carter, Branford Marsalis and Wynton Marsalis. Since then Everett has contributed trumpet on a handful of jazz recordings, including Curtis Lundy’s Against All Odds while becoming a leading figure in Chicago’s house, soul and R&B communities, releasing seven solo albums. And perhaps unsurprisingly, Gorillaz collaboration with Everett is the most dance floor-friendly track they’ve released in several years — since, perhaps “Dare” off Demon Days, as the album’s  latest single features Everett’s soulful crooning singing uplifting lyrics over a club banging, Larry Levan and Frankie Knuckles-era house music production featuring cosmic ray-like synths, twinkling keys and dance floor-friendly beats; it’s frankly the sort of song that’s so uplifting that you’d have to dance and smile — and if you didn’t there was something deeply wrong about you. 

Directed by Stoke, UK-native Raoul Skinbeck, the recently released video for “Strobelite” features Peven Everett with the members of Gorillaz and a multicultural cast of clubgoers tearing up a London nightclub and if there’s one thing that the video confirms in an increasingly unsettled and frightening world that it’s the things that remind us of our humanity that unite us — that music has the power to let us escape for a little bit, to have us fall in love, and to remind us of who and what we are; and that there’s freedom on the dance floor. 

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New Video: NVDES Returns With Another Off-Kilter and Anthemic Dance Punk-Inspired Track

Earlier this week, I wrote about the Los Angeles-based collective NVDES, an act that I’ve written a bit about over the past 12-18 months or so. And if you may recall, with the release of 2016’s Life With Lobsters, an album consisting of glitchy, summery indie dance pop, the collective fronted by founding member and primary songwriter Josh Ocean received over 10 million streams across all digital platforms, landed on Spotify’s Global Viral Chart, and as a result of rapidly growing buzz, the project’s 2016 effort received praise from The Fader, Nylon and others.

You’ll also remember that I’ve written about the first two singles off NVDES’ recently released La NVDITÉ EP, the breakneck Sound of Silver-era LCD Soundsystem-like “Turning Heads” and the breezy, yet anthemic “Dancer From New York,” and of course, as a blogger, who has run this site for the past seven years, I can tell you that the blogosphere forces artists to strike while the iron is red hot and while the buzz surrounding them is at its apex. And to celebrate the release of the EP, Ocean and company released  La NVDITÉ EP’s latest single, the glitchy and angular “Sugar,” a track that continues along the lines of its predecessors thanks to a breezy yet anthemic vibe but interestingly enough, through the batch of singles they’ve released off the EP, the act have revealed themselves to specialize in off-kilter, global-spanning and genre-smashing yet danceable pop reminiscent of Gorillaz. 
Directed by Jenna Josepher and Guilia Marisco, the recently released for “Sugar” manages to smash the two artists’ unique and varying aesthetics in a way that’s mischievous and disturbing. 

New Video: The Film Noir-Like Visuals for Nadine Shah’s Politically-Charged “Holiday Destination”

Born to Norwegian-English mother and a Pakistani immigrant father, Nadine Shah is a Whitburn, South Tyneside, UK-born, South Shields, UK-based singer/songwriter and pianist, who received attention nationally and elsewhere with her Ben Hillier-produced debut effort, Love Your Dum and Mad, an effort largely inspired by the suicides of two very close friends of hers; in fact, her debut album focuses on the social stigmas towards those suffering from mental health illnesses with an unvarnished candor and empathy. Shah continued her collaboration with co-writer and producer Hillier, with her sophomore album, 2015’s Fast Food, an album that focuses on the ecstasy and agony of short, passionate relationships.

However, while Shah’s third and soon-to-be released album Holiday Destination seems directly influenced by the growing sense of uncertainty, instability, political chaos, polarization, racism and xenophobia of the past year, as the daughter of a Pakistani emigrant, the headlines of the past 12-18 months have played a significant part of her life, and as a result the material may arguably be the most politically charged she’s released to date, as the material thematically touches on the plight of Syrian refuges — in particular, the desperate refugees, who landed on the European and shores, only to discover unmitigated cruelty; her own experiences as a Pakistani woman in the world, and of course much more.  In fact, album title track “Holiday Destination” as Shah explains is press notes is “a response to this really harrowing news piece about migrants and refugees arriving on the shores of Kos in Greece by the thousands. There were some holidaymakers being interviewed, and they were talking about how the situation was ruining their holiday. Despite their total and complete lack of empathy, the thing which shocked me the most was their bold and unashamed stance of saying such things on national television. This is what we’re seeing across the globe: people proudly expressing this hate-fueled rhetoric. It’s like wow — some people really don’t care, and they’ll happily talk about how they don’t care. I just don’t get it.” And as a result, the song’s narrator questions the humanity and decency of the vacationers, who can’t seem to see anything beyond their own pleasure and gratification; but along with that, it leaves a larger, more troubling question for the listener — just whose best interest are at the heart of those in power? And is there a point where humanity trumps profit?

Shah’s latest single should continue to remind you that music is indeed a powerful weapon, as she pairs a fiery outrage with layers of jangling guitars and a motorik-like groove and atmospheric synths in a song that manages to nod at Berlin trilogy-era Bowie and PJ Harvey simultaneously.

Directed by Christian Stephen and produced by Nick Rosier, the recently released video for “Holiday Destination” is shot in a lush and cinematic black and white and follows a trench coat wearing Shah through the streets and alleyways of a decidedly British town, passing by oblivious revelers, street buskers and scenes of every day life.

New Video: The Animated and Psychedelic Visuals for Gordon Raphael’s “Savage”

Now, if you’ve been frequenting this site over the course of the summer, you’ve likely come across a couple of posts Seattle, WA-born, Berlin, Germany-based singer/songwriter, guitarist, and producer Gordon Raphael. As a producer, Raphael has worked with an impressive, who’s who list of contemporary indie rock and rock artists including  The Strokes, Regina Spektor, Damon Albarn, Ian Brown, The Cult‘s  Ian Astbury, Hinds and others; however, Raphael primarily sees himself as a singer/songwriter and guitarist.  “I love producing, but playing guitar and writing songs is what I’ve always done,” Raphael explains in press notes. “I wanted to show what I can do on the other side of the desk all the time, but producing kept getting in the way.”

Raphael’s full-length debut Sleep on the Radio was released last month and the album draws from Ziggy Stardust-era David Bowie, Mick Ronson, Kimono My House-era Sparks, Frank Zappa and prog rock among others. Reportedly “View From Blue,” the album’s first single was part of over 1,000 songs he had written over the years; but it came from the most unlikely source — from a dream. In particular, “View From Blue” is a part of a selection of 12 songs that were carefully honed and perfected to the point that they were living, breathing and fully fleshed out songs that needed to be played, recorded and heard – – right now.  And as a result, while the song clearly nods at Ziggy Stardust-era Bowie — think “Queen Bitch,”“Panic in Detroit,” and others — the anthemic, hook-laden song possesses a forceful urgency underneath its boozy, free-flowing psychedelia.

“Savage,” Sleep on the Radio‘s latest single sounds as though it draws from Evil Heat-era Primal Scream, Brit Pop and 60s psych pop as twinkling synths, buzzing and whirring electronics are paired with blazing guitar pyrotechnics, an anthemic hook and a  spacey, psychedelic vibe that belies an incredibly sensual nature.  And much like its preceding single, Raphael’s latest reveals him to be a songwriter, who can craft an incredibly catchy hook and has an ability to have both a signature sound and aesthetic while being a musical chameleon, who can morph into any genre, any style at will.

Directed and produced by Marta Figuredo, the recently released animated video is set in a intricately detailed and drab world in which a Raggedy Andy-like Raphael carries a flower that opens up a brightly colored, wildly psychedelic universe. 

New Video: The Vibrant and Energetic Animated Visuals for Gold Fir’s “Night Walk”

Gold Fir is a London-based electro pop act comprised of a rather mysterious duo known only as James and Mabel, and the duo have quickly received attention both nationally and across the international blogosphere for a sound that draws from 80s synth pop, classic course and electro pop in a warmly familiar yet unique fashion, as you’ll hear on “Night Walk,” a track that will remind some listeners of George Michael‘s “I Want Your Sex,” Chaka Khan’s and Rufus‘ “Ain’t Nobody,” Chaka Khan‘s “I Feel For You,” and Nu Shooz’s “I Can’t Wait,” but with a boldly self-assured and downright sassy air and an infectious, club-friendly hook. 

Featuring a vivid mix of hand drawn two dimensional animation paired with digitally filmed environments, the recently released video for “Night Walk” specifically celebrates the vibrancy and energy of the night, as well of nightlife, while mischievously nodding at 80s pop videos, thanks in part to some incredible dance moves by the animated figures. 

New Video: LCD Soundsystem Returns with Their Most Dance Floor Friendly Track in Several Years

Founded by frontman, multi-instrumentalist, producer, DJ and DFA Records co-founder James Murphy in 2002, Brooklyn-based indie rock/electro rock/dance punk act LCD Soundsystem along with acts like  The Rapture, Yeah Yeah Yeahs, Bloc Party, Radio 4,  Liars and a few others, are considered pioneers of a dance punk renaissance that saw its height at the early part of this century; but among that group LCD Soundsystem set themselves apart as one of the more commercially and critically successful acts of their era — 2005’s eponymous full-length debut, which featured their most successful single “Daft Punk Is Playing At My House” was nominated by a Grammy for Best Dance Recording with the album also being nominated for a Grammy Best Electronic/Best Dance Album. With a growing national and international profile, Nike commissioned Murphy and company to write and record a workout-inspired, workout-friendly album — 45:33 — as part of the Nike+ Original Run series. The members of LCD Soundsystem followed that up with 2007’s critically acclaimed Sound of Silver, which was also nominated for a Grammy for Best Electronic/Dance Album.  2010’s This Is Happening managed to be the act’s most commercially successful, as it was their first Top 10 album in the States; however, by the following year, the band announced it was breaking up and was celebrating a wildly successful run together with a series of farewell shows at Madison Square Garden and Terminal 5, with the events surrounding their final show together, chronicled in the documentary Shut Up and Play the Hits, and a live album, 2014’s The Long Goodbye, which Murphy painstakingly mastered. 

After LCD Soundsystem broke up, the members of the band went on to pursue a number of creative and business pursuits — Nancy Whang released solo material and DJ’ed; Tyler Pope spent a stint in the touring band of !!!,; Gavin Russom has released solo material under the moniker Black Meteoric Star, collaborated with Viva Ruiz in The Crystal Ark and recently came out as transgender and transitioning; David Scott Stone has collaborated with Melvins, Unwound, Jello Biafra, Mike Patton, No Age, and others; Jerry Fuchs went on with stints in The Juan MacLean, !!!, Maserati and MSTRKRFT; and Murphy arguably being the busiest of the band as he not only continued his production and sound engineering work, working with Arcade Fire during the Reflector sessions, he was in 2014 commissioned by the US Open to create a special set of remixes based on the actual sounds and events of the tournament’s matches. Along with that he remixed David Bowie‘s “Love Is Lost,” for an expanded edition of the legendary artist’s The Next Day and was known to occasionally DJ, including famously DJing to close out DFA Records’ 12th Anniversary Party at Grand Prospect Hall. He also participated in Canon’s Project Imaginat10n, a film project in which the folks at Canon invited 5 different celebrities to direct short films based on pictures uploaded by photographers and other creatives around the world to a special website, with the result being his directorial debut “Little Duck,” set in Japan. And in other non-musical pursuits, with the assistance of Blue Bottle Coffee founder James Freeman, Murphy released his own blend of espresso, and then he opened a critically applauded restaurant in Williamsburg, which he personally designed and chose the menu. And although Murphy had publicly stated that LCD Soundsystem’s breakup allowed him the time and ability to pursue an array of projects, he wasn’t able to do before, he also missed being in a band and creating music. 

Interestingly, in light of those comments, towards the end of 2015, there were rumblings across the blogosphere that Murphy and several members of the band were considering a series of reunion shows for the major festival circuit — and naturally, those rumors exploded upon the release of Christmas Will Break Your Heart,” which the band released on Christmas of that year, marking a big Christmas surprise for fans, who had been clamoring for new material and/or the possibility of a reunion for the better part of 5 years. Naturally, with the release of the single, Murphy and company confirmed that a reunion tour with appearances at several major festivals, a residency to  The Bowery Presents‘ newest venue, Brooklyn Steel and a new album, American Dream, which is slated for a September 1, 2017 release through Columbia Records/DFA Records. 

As my colleagues mentioned, their early Brooklyn Steel sets featured material, which would appear on their new album, including the atmospheric, “Call The Police,” which features Murphy’s archly ironic lyrics and manages to sound like a mesh of the sound of This Is Happening and their incredible cover of Harry Nilsson‘s “Jump Into The Fire” and “American Dream,” a slow-burning track featuring shimmering synths but subtly nods at “New York I Love You But You’re Bringing Me Down,” thanks in part to Murphy’s dramatic crooning, 

“tonite,” the third single off the soon-to-be-released album is arguably one of the more dance floor friendly singles they’ve released to date as it features an unrelenting and propulsive beat paired with wobbling, house music-like bass synth and twinkling keys, and Murphy’s ironic observations on the state of contemporary music, human relationships in the age of constant connectivity and his own random musings. And interestingly enough, despite the 5 years apart, the band manages to sound as though they haven’t missed a beat; in fact, it sounds as though it were the song and the album that they would have made regardless of breaking up — all while subtly nodding at Man Machine-era Kraftwerk. 

Directed by Joel Kefall, the recently released video for “tonite” features a handful of members performing the song, while others look cooly detached, reading or staring into space on a spinning stage, lit by explosively bursts of concert lighting. And the entire time, the band’s frontman sings with a tape recorder strapped to him. 

New Audio: Monolord Returns with a Sludgy Yet Subtle Expansion of Their Sound

The Gothenburg, Sweden-based doom metal trio Monolord has become a JOVM mainstay over the past 15-16 months, and as you’d likely recall the trio, comprised of Thomas Jäger, Esben Willems, and Mika Häkki can trace their origins back to 2013, when its founding members Jäger and Willems, started the band as a side project that gave them the opportunity to play much heavier and darker material away from their primary gig as members of boogie rock outfit Marulk. Jäger and Willems then recruited Häkki, best known for stints in The Don Darlings and Rotten Sound to complete the band’s lineup and to flesh out their sound. And while the trio was writing and recording their critically applauded debut Empress Riding, they discovered they had a special creative chemistry that necessitated making the project a full-time gig; but interestingly enough, the project also marks the first time that Jäger has taken vocal duties.

2015’s sophomore effort Vænir resulted in the band receiving a growing national and international project, and they built upon that buzz with the “Lord of Suffering”/”Die in a Haze” 10 inch single, which they released last year and as you may recall, “Die in a Haze,” featured sludgy, dirge-like power chords paired with thunderous drumming within an enveloping mix, while Lord of Suffering” managed to nod at space rock and psych rock — in fashion that reminded me of  Black Sabbath‘s “Planet Caravan.”
The “Nirvana of doom” as their fans have referred to them will be releasing their third full-length album Rust through RidingEasy Records on September 29, 2017 and as the band’s Esben Willems says in press notes, “A heavy groove that contains both bombastic overkill and a lot of dynamics is what we always aim for in Monolord; in playing, in song writing and arranging, in recording.” The album’s first single and title track “Rust,” which featured guest spots from Mondo Drag‘s John Gamino on keys and Beastmaker’s Trevor Church, who contributes an incredible guitar solo towards the end of the song further cemented the Swedish’s trio reputation for crafting slow-burning, sludgy and forceful metal but upon repeated listens, the song reveals that the band has been subtly expanding upon their overall sound and songwriting as it possesses an expansive vibe with an oceanic heft. “Where Death Meets the Sea,” Rust’s second and latest single continues in a similar vein as its predecessor as its possesses an oceanic heft, which is unsurprising considering the song’s title, complete with sludgy power chords and thundering drumming but it reveals impressive guitar work within an slow-burning yet expansive song structure. And at the end of the day, Rust’s first two singles will remind listeners that the band is one of the world’s best doom metal bands. 

New Video: The Trippy 80s-Inspired Visuals for Park Hotel’s “Going West”

Centered on its founding and primary songwriting duo Tim Abbey and Rebeca Macros-Roca, the London, UK-based post-electronic dance act Park Hotel have developed a reputation for a sound that meshes neo-disco and dance punk with off-kilter, downtown art scene-based songwriting — and unsurprisingly, the duo’s sound has been favorably described as a joyfully communal face-off between LCD Soundsystem, Earth, Wind and Wire with flashes of Talking Heads and a sprinkle of Steely Dan. Along with that, they’ve developed a reputation for a live show in which the project expands to a sextet featuring three-way vocal harmonies, rhythm and lead guitar, drums and lots of cowbell.

Produced by Eliot James, mixed by Nathan Boddy and mastered at New York’s Sterling Sound, the act’s debut single “Gone as a Friend” was recorded after playing a number of critically applauded, buzz-worthy shows across London before officially releasing it earlier this year. And building upon their growing buzz, the act’s latest single “Going West,” is an off-kilter, dance floor-friendly track that sounds inspired by Tom Tom Club‘s “Genius of Love,” Talking Heads’ “Making Flippy Floppy,” Miami Horror‘s “Leila” and The Rapture‘s “House of Jealous Lovers” as the song possesses an infectious, ear-worm worthy, hook paired with boy-girl harmonizing, shimmering synths, a Nile Rodgers-like guitar line and an even funkier bass line, but they manage to do so in a fashion that feels like a fresh and mischievous take on a familiar, crowd pleasing fashion.

Collaborating with mononymic artist Henry, the recently released video for “Going West” manages to draw from two different eras  — 60s psych pop and early 80s pop and rock videos, as we follow the members of Park Hotel on a rooftop with neon bright backdrops featuring Basquiat-like art and expansive and trippy blue skies. 

New Video: The Dark and Striking Visuals for At The Drive In’s “Call Broken Arrow”

Currently comprised of founding members Cedric Bixler (vocals), Omar Rodriguez (guitar, vocals), Paul Hinojos (bass) and Tony Hajjar (drums) and Sparta’s Keely Davis, the El Paso, TX-based punk rock act At The Drive In can trace its origins back to its formation in 1994. After several line up changes, the band’s lineup eventually solidified into a quintet featuring Bixler, Rodriguez, Hinojos, Hajjar and Jim Ward, and with its best known lineup, the band released three critically applauded and commercially successful studio albums — 1996’s Acrobatic Tenement, 1998’s In/Casino/Out and 2000’s seminal effort, Relationship of Command — before abruptly splitting up at the height of their popularity, just before they were about to embark on a Stateside leg of a lengthy world tour. 

Following the break up of At The Drive In, Bixler and Rodriguez formed the critically applauded act The Mars Volta while Ward, Hinojoso, Hajjar formed Sparta with Davis, and both acts were a decided departure from their work from At The Drive In — with The Mars Volta specializing in intricate and expansive prog rock and Sparta specializing in much more straightforward rock. The band reunited in January 2012 and played that year’s Coachella Festival and Lollapalooza Festival and re-issued their original material through their own label before splitting up. Interestingly, the following year The Mars Volta went through a bitter break up in which Bixler and Rodriguez refused to speak to each other for a couple of years.  However, the original lineup had reunited to play a series of Festival gigs and announced they were releasing new material, but as the band was rehearsing and preparing to go on tour, Ward left and he was replaced by Sparta’s Keely Davis. 

The band’s fourth full-length effort  in • ter a • li • a was released earlier this year and from the album’s latest single “Call Broken Arrow,” the band manages to retain the explosive and breakneck fury of their previously released material but while revealing musicians who have grown older and bring something different to the table than from their first incarnation; in fact, the song manages to strongly nod at prog rock and math thanks to rapid fire key changes and a punishingly forceful bridge that will absolutely melt faces. 

Directed by Rob Shaw, the recently released visuals for “Call Broken Arrow” act as a prequel to the video for “Hostage Stamps,” as the viewer follows the continuing story of a prisoner and his faceless captors, as well as the appearance of enormous, mechanized spiders. And much like the preceding video, the visuals for “Call Broken Arrow” employs a mix of digital and stop-motion animation while providing nuanced into the already established narrative. As Shaw explains in press notes. “In ‘Hostage Stamps,’ we have a prisoner being tortured and monitored by some sort of authoritarian organization. The guys wanted to show why he was imprisoned, as well as cast doubt over his innocence. It’s funny how in stories, especially film stories, you tend to sympathize with whoever you spend time with. When you watch someone being mistreated, the assumption is that person is the victim. ‘Call Broken Arrow’ is in part about illustrating the prisoner’s culpability, but even that is in doubt as we see the Watcher character who follows him around slipping something in his drink at the end.”

New Video: The 90s and 00s Metal and Alt Rock-Inspired Visuals for Chelsea Wolfe’s “16 Psyche”

Chelsea Wolfe is a California-born and-based singer/songwriter and guitarist, who with the release of 2010’s The Grime and the Glow, 2011’s Apokalypsis, 2013’s Pain Is Beauty and 2015’s Abyss received attention across the blogosphere for a sound that meshes elements of gothic rock, folk, neofolk, electronica and metal, and for material that thematically dug underneath the world’s ugliness, messiness and hurt to get at a profound beauty underneath. Because of its cinematic and moody quality, her music has been featured in the promotional material for several TV series, including Game of Thrones, Fear the Walking Dead and How to Get Away with Murder.

Wolfe’s sixth full-length album Hiss Spun is reportedly inspired by a Henry Miller quote —  “What I want is to open up. I want to know what’s inside me. I want everybody to open up. I’m like an imbecile with a can opener in his hand, wondering where to begin — to open up the earth. I know that underneath the mess everything is marvelous. I’m sure of it.” And unsurprisingly, the material finds the renowned California-born and-based singer/songwriter and guitarist adopting Miller’s quest to become truly empowered by embracing the complete, messy self and to control the tumult within one’s soul in the hopes of reigning in the chaos of the world around them. However, as Wolfe explains in press notes, she had initially wanted to write some sort of escapist music with songs that were about being in your body and getting free; but “you’re just bombarded with constant bad news, people getting fucked over and killed for shitty reasons or no reason at all, and it seems like the world has been in tears for months, and then you remember that it’s been fucked for a long time; it’s been fucked since the beginning. It’s overwhelming and I have to write about it.” 

The album, which was recorded by Kurt Ballou in Salem, MA during the beginning of this year was also inspired by a brutally cold New England winter, several major upheveals in Wolfe’s personal life, as well as the Californian singer/songwriter and guitarist coming to terms with years of conflicting feelings of vulnerability, anger and self-destruction, an dark family history that has weighed heavily upon her and her life. And as a result, the material on Hiss Spun may arguably be the heaviest, darkest and most forceful material she has written to date. Additionally, long-time collaborator Ben Chisholm contributes swaths of sound collages recorded while Wolfe and her backing and were on tour — the rumble of street construction while they were on tour in Prague; the howl of a coyote outside Wolfe’s home; the scrape of machinery on a floor of a warehouse at a down-and-out friend’s workplace, as well as samples from the bomb blasts of the Enola Gay, the shrieks and mating calls of primates, the fluttering pages of a book of Walt Whitman’s poetry are all manipulated and seamlessly placed within the music.

The overall effect was to be a cathartic emotional purge and as you’ll hear on “16 Psyche,” the latest single off Hiss Spun, the song while managing to sound as though it were inspired by Tool and A Perfect Circle, complete with pummeling drumming and roaring distortion-heavy power chords and an antehmic hook possesses a palpable aching yearning  and broiling, feral, fury at its core that reminds me quite a bit of PJ Harvey. 
Directed by Zev Deans, the recently released video for “16 Psyche” is deeply inspired by late 90s and early 00s alt rock and metal videos and features a cameo by Queens of the Stone Age’s Troy Van Leeuwen, who appeared in similar videos of the era, and fittingly the video consists of dark, foreboding imagery of Wolfe in a straitjacket, being carted off as though she were Hannibal Lecter, Wolfe and her backing band performing the song in a smoke machine-filled studio dressed entirely in black and more. As a boy and teenager, who was obsessed with watching MTV, just watching the video brings back a ton of memories — Marilyn Manson’s “The Beautiful People” anyone?