Tag: music

New Video: JOVM Mainstays The Orielles Release a Trippy Visual for Psych Freak Out “Down On Jupiter”

Over the past couple of years, I’ve written quite a bit about the rapidly rising Halifax, UK-based act The Orielles. And as you may recall, theca which was founded by Sidonie B. Hand-Halford (drums) her younger sister, Esmé Dee Hand-Halford and their best friend Henry Carlyle Wade (guitar, vocals) built up a great deal of buzz surrounding them, when Heavenly Recordings‘ head Jeff Barrett signed the band after catching them open for labelmates The Parrots in late 2016.

2017’s full-length debut Silver Dollar Moment found the band further establishing a genre-defying sound that meshed elements of psych rock, pop and disco centered around  surrealistic observations of every day life. After the release of their critically applauded full-length debut, the band expanded into a quartet when they recruited Alex Stephens (keys) — and with their newest member, they went into the studio to record  “Bobbi’s Second World” and a cover/rework of Peggy Gou’s “It Makes You Forget (itgehane)” that found the band’s sound playfully (and increasingly) leaning in the direction of early 80s Talking Heads, ESG and others while still being centered around rock-based instrumentation.

A year has passed since I’ve last written about the JOVM mainstays and as it turns out they were busy working on their highly-anticipated, forthcoming sophomore album Disco Volador. “Its literal interpretation from Spanish means flying disc but everyone experiences things differently. Disco Volador could be a frisbee, a UFO, an alien nightclub or how you feel when you fly; what happens to your body physically or that euphoric buzz from a great party,” the band’s Esme Dee Halford suggests in press notes. “But it is an album of escape; if I went to space, I might not come back.” Slated for a February 28, 2019 release, Disco Volador continues the band’s ongoing collaboration with producer Marta Salogni while reportedly finding the quartet pushing their sonic horizon to its outer limits, as astral travelers of sort, crating progressive and trippy tunes that sonically draws from and meshes cinematic samba, 70s disco, boogie funk, dance floor grooves and 90s acid house — and expanding the influences further to including the work of Italian film score composers Sandro Brugnolini and Piero Umiliami, as well as contemporary acts like Khruangbin and Altin Gun. “All the influences we had when writing this record were present when we recorded it, so we completely understood what we wanted this album to feel like and could bring that to fruition,” the band’s Sidonie B. Hand-Halford explains in press notes. 

The band’s highly-anticipated sophomore album also manages to capture the rapidly rising act in the moment of their post debut album success, which included a lengthy and successful summer tour that included festival stops at Green Man and bluedot. Interestingly, the album’s first single “Come Down On Jupiter” will further cement the band’s reputation for crafting seamless and expansive, genre-defying songs — in this case, you have a slow-burning and brooding intro that quickly morphs into breakneck guitar pop with a psychedelic disco freak out. And while retaining the razor sharp and infectious hooks that won the band attention nationally and internationally, the song is a further example of an insanely versatile band with incredibly dexterous musicianship. 

Directed by Rose Hendry, the recently and incredibly cinematic and hallucinogenic video for “Come Down On Jupiter” was filmed — yes, that’s right it was shot on Kodak film — at Arments Pie and Mash shop in Kensington, London. “When I first heard the track I was immediately transported into some sort of mystery melodrama from another era, with a strong dose of something psychedelic,” Rose Hendry says of the video. “This was my starting point, alongside an image by photographer, Ralph Gibson, of a cup of tea sitting on a beige table, bathed in warm sunlight with a plastic spoon resting against the lip. I enjoyed the idea of centering the video around an incident with a cup of tea — that felt dramatic to me — something “mundane” becoming something dramatic. I wanted to encapsulate the playful psychedelia in a psychological and structural way as opposed to the ‘pastiched to death’ VW campervan kind of way. Add to that toast and the rest developed from there.”


New Video: Netherlands Releases a Stark Visual Full of Existential Dread

Formed by its creative mastermind, Timo Ellis, a singer/songwriter and multi-instrumentalist who has collaborated with Yoko Ono, Cibo Matto, John Zorn, Melvins, Gibby Haynes, Ween, Joan As Police Woman, Spacehog, White Hills and others back in 2010, the New York-based act NETHERLANDS currently features Chealsea “Thee Chuq” Wierbonski, John Musto and Damien Moffitt. Now, if you’ve been frequenting this site over the past handful of years, you may recall that the New York-based band has developed a reputation for adhering to a sound and approach that actively rejects restraint for ambitious maximalism featuring pummeling drumming, dexterous guitar shredding, rapid fire tone, tempo and time signature changes — while being remarkably hook-driven in a way that sort of recalls Melvins, Torche, Mastodon and Jane’s Addiction.  

Building upon a growing profile, the members of NETHERLANDS have played with a number of renowned and acclaimed acts across a diverse and eclectic array of genres and styles including Napalm Death, Melt Banana, Mutoid Man, Yob, Black Flag, EYEHATEGOD, Candiria, Valient Thorr, Child Abuse, Mutilation Rites, Primitive Weapons, Freshkills, Vaz, Naam, Martin Rev, The Giraffes, The Death Set, BANGLADEAFY! DN’T, Unstoppable Death Machines, Mouth of the Architect, White Hills, Gull, Godmaker, Spacehog, The Austerity Program, No Way, Moon Tooth and Radkey.

Recalling an industrial-leaning take on King Gizzard and the Lizard Wizard’s Murder of the Universe, Netherlands’ latest single “Zombie Techno” retains the pummeling sound and sludgy power chords that has won them attention but while arguably being one of the most danceable — yes, really danceable — songs they’ve released to date.  “The theme of his song, as well as our entire new wave of material, is a comment on the illusion of community and civic participation that’s become the currency of all the new media platforms,” the band’s Timo Ellis explains. “Virtually everyone is constantly feeding overlapping algorithms that are sustained by a near-constant supply of curated narcissism, which while outwardly appearing to be ‘issue driven,’ much more often than not, don’t actually reflect any kind of real world action or real coalition-building or organization, whatsoever.”

Directed and designed by Kenny Curwood, the recently released video for “Zombie Techno” is centered around incredibly stark New Yorker cartoon-like animation, which shows human history and the human condition but through the lens of psychedelic, existential dread. Ultimately, the visual features an indifferent universe that sarcastically smirks and mocks humanity’s attempt to make meaning of their lives, as well as putting existence to a danceable rhythm.  

New Video: San Francisco’s Split Screens Releases a Lysergic, Hand-Made Animated Visual for Shimmering “From The Start”

Jesse Cafiero is a San Francisco-based singer/songwriter, multi-instrumentalist, visual artist and animator — and the creative mastermind behind the indie pop/indie rock recording project Split Screens. With the release of his Split Screens full-length debut, 2014’s Before The Storm, Cafiero quickly established a profile for crafting widescreen pop, as the album received praise from the likes of Impose, My Old Kentucky Blog, GoldFlakePaint and others.  

Unfortunately, about a year after the album promotion campaign for Before The Storm, the San Francisco-based singer/songwriter, multi-instrumentalist, visual artist and animator began to experience severe burn-out. “My passion for why I started making music in the first place had started to dwindle,” Cafiero says of that time, “and while it’s never fun to put a project on an indefinite hiatus, that’s essentially what happened.”

In order to keep his creative juices flowing, Cafiero shifted his focus to making collage art and animating music videos for a number of Bay Area-based bands with some of his work being prominently featured on Vice. Unsurprisingly, his forays into visual art eventually led him back to writing music. “Approaching a new art-form really gave me the perspective and confidence I needed to fight back any self-doubt and dig deep into recording this EP,” Cafiero says of that period — and of his soon-to-be released six song EP,  Everyday Static. 

While being the long-awaited follow-up to his critically applauded Split Screens full-length debut, Everyday Static is both a reflection of the burn-out he experienced and the result of a prolonged, deeply personal personal journey as an artist and and as a person. With five years of life behind him, Everyday Static’s material is understandably more mature and focused as its imbued with an understanding and awareness of the passage of time — and of course, of one’s own mortality. Interestingly, the new EP continues Cafiero’s ongoing collaboration with producer and engineer Jeremy Black, who has worked with Langhorne Slim and JOVM mainstay Geographer, as well as Tycho’s Rory O’Connor, who contributes drums throughout the EP. 

Everyday Static’s latest single “From The Start” is a deliberately crafted, swooning bit of guitar pop that thematically and sonically nods at Wall of Sound Phil Spector-esque pop, The Smiths and Patsy Cline-era country, as the song features shimmering lap steel guitar, reverb-drenched guitars, twinkling keys, a soaring hook and Cafiero’s achingly plaintive vocals. Interestingly, the song manages to be unhurried yet an earnest and urgent expression of appreciation and devotion. 

The recently released video for “From The Start” is a fully analog video, painstakingly animated frame-by-frame with images found at library sales, Goodwill and a variety of other donation-based stores with the end result being a lysergic visual that nods at Monty Python and The Beatles’ Magical Mystery Tour.  “My favorite part about animating with paper collage are the limitations,” Cafiero says. “The imperfections of shooting frame-by-frame really gives the video a human touch, something that I think is missing in our current digital lives.”

New Video: Dan Sadin’s Decidedly 80s Inspired Visual for Anthemic “Sucker”

Dan Sadin is a Los Angeles-based singer/songwriter and guitarist, who has spent the past decade or so playing, writing and performing with an eclectic array of artists and bands including FRENSHIP, Holychild, MØ, Jessie Ware and Sabrina Claudio. Deeply influenced by the likes of Tom Petty, Bruce Springsteen and Patti Smith among others, Sadin’s songwriting draws from life’s intimate moments — the quiet conversations and moments often had in darkened bars, bedrooms and therapy sessions.

Interestingly, Sadin’s forthcoming, self-titled debut EP finds Sadin stepping out into the limelight as a solo artist and songwriter — and for an artist, whose own work was hidden out of self-consciousness and fear of rejection, it’s a a bold unveiling of an artist, who pairs earnest lyricism with rousing and enormous hooks and a pop sensibility. Thematically, the material focuses on a familiar and fairly universal personal battle that we’ve all fought and continue to fight: that choice to conform and be accepted and liked — or standing out an individual and risking rejection and loneliness. And while acknowledging that it isn’t an easy decision to make, the material suggests that it’s better to be hated for who you really are than to be liked for who you’re not.

“Sucker,” Sadin’s latest single is an earnest track, centered by an arena rock friendly hook, layers of buzzing and distorted guitars, explosive and ebullient blasts of horn, thumping, tweeter and woofer rocking beats and Sadin’s plaintive vocals. The song manages to be heavily indebted to Springsteen and Petty in particular but while avoiding soulless and cliched homage and mimicry, as the song is rooted in hopeful yearning for something more, for a deeper connection based on lived-in personal experience and hard-fought, hard-earned wisdom.

“I’m terrible at small talk. I’m always pushing for the deeper, more serious conversations,” Sadin says in a lengthy statement. “When I’m out being social, talking about that stuff feels taboo and I think I end up coming across as awkward or disengaged. So I had become actually afraid of ‘going there’ and creating genuine relationships, actively trying to avoid that part of myself. But I’ve reached a point where that just isn’t working for me anymore.

“‘Sucker’ is an outpouring of that need for a deeper connection with the world around me and myself,” Sadin continues. “I had been feeling lost, caught up in a very surface level existence. I was overwhelmed with anxiety created by ignoring the things in life that really mattered to me, that were a part of my core, because I felt like I had to live up to cultural, communal and familial expectations. I felt like I had to be my own curator of what other people think is a ‘perfect life.’ And while I knew that living like that might be a way to receive instant gratification, it was also a way to avoid being with myself. Living in a world of curated successes and one-dimensional projections, only seeing what people what you to see or hear, I was riddled with anxiety about how I compare with someone else’s end product, As a result, I believed that this end goal, whatever it might be, should be something immediate when it really isn’t. I don’t see someone else’s journey, their deep, dark demons…but that’s the exciting part! That’s the part that I live for. That’s the part that makes us all human and connects us together. I know that we all struggle, we all feel lonely. We are all bound to this human experience by these very feelings, struggles and challenges I had been trying to pass over. And in doing so, I had buried my deepest most authentic self, more concerned with trying to be what I think others want to see than asking myself how I really feel and what I really want.

“This song is for my five-year old self who was in perfect alignment with his dreams, his feelings and who he was. It is meant to honor that part of myself that craves the real talk, the real connections – not just surface level interactions. And it’s a helpful reminder to not take myself too seriously. Life can be both fun and meaningful at the same time!”

Directed by Joachim Zunke, the recently released video for “Sucker” touches upon celebrity culture, social media obsession and a growing sense of disconnection — even when you’re in the company of others. But it’s also a stylish visual that follows Sadin through the streets of downtown Los Angeles, as he’s hounded by fans when he simply wants to be left alone for a little bit, and then as he dances through the streets of Los Angeles in a decidedly tongue-in-cheek 80s music video-like scene. 

“JoJo’s visual realization of “Sucker” has so many direct and indirect references to the song itself, but it’s never in your face or overly self-explanatory. Joachim had the idea of playing with reality vs fantasy in a loose way – ultimately the video could be taking place on a few different planes of existence and I really love how it leaves the choice up to the viewer and how they see the world. It’s also shot in a way where it doesn’t take itself too seriously. Despite touching on the theme of searching for a deeper connection, I think there’s a stronger presence of ‘dance like no one is watching you'”

New Video: Knife Knights’ Release a Hallucinogenic Visual for “Drag Race Legend”

I’ve spilled quite a bit of virtual ink covering the Seattle-based emcee, synth player, guitarist and producer Ishmael Butler.  Butler is known as the co-founder of two critically applauded, groundbreaking, JOVM mainstay acts — Digable Planets and Shabazz Palaces. About a decade ago, Butler was preparing to publicly emerge from several years of near-complete creative silence. During the summer of 2009, Butler’s Shabazz Palaces quietly self-released a pair of EPs that quickly established the act’s unique sound and aesthetic: Butler’s hyper-literate verses full of complex inner and out rhyme schemes paired with psychedelic sonic textures and refracted rhythms.

When Butler started Shabazz Palaces, he desperately wanted the act to stand on its own strength and not on his long-held reputation. So confidentially was essential; in fact, he adopted a pseudonym for himself. As Shabazz Palaces’ profile and network rapidly expanded, Butler recognized that he needed new monikers for his various creative pursuits and collaborations that would be allow them to stand on their own. Knife Knights, was the name that he devised for his work with the then-Seattle based engineer, producer, songwriter and film composer Erik Blood, who has also been a vital and important collaborator in the Shabazz Palaces Universe. Blood and Butler can trace their collaboration and friendship back to when they were introduced to each other at a Spiritualized show in 2003 through a mutual friend, whom Butler was about to record with. As the story goes, Blood was a diehard and obsessive Digable Planets fan, and as an obsessive fan, he passed along a bootleg copy Blowout Comb for the mutual friend to have Butler sign — and Butler dutifully did so.

Over the course of the next few years, Blood and Butler would have chance encounters and sometimes during those encounters, they’d talk about possibly working together. Several years had passed but when Butler finally sent Blood a few songs to mix, their creative chemistry was obvious and immediate. Blood, who’s a huge hip-hop fan has always been an obsessive music listener and fan with wildly eclectic tastes. Butler, on the  other hand, who’s a lifelong hip-hop fan, began listening to and absorbing shoegaze and ambient soundscapes.

Several years later, when Butler finally sent Blood a few songs to mix, their creative chemistry was obvious and immediate. That shouldn’t be surprising — Blood, as a huge hip-hop fan, has a always been an obsessive music listener and fan with eclectic tastes while Butler, a lifelong hip hop fan, began listening to and absorbing shoegaze and ambient soundscapes. Interestingly, every Shabazz Palaces album has featured a Blood and Butler collaboration, a collaboration that finds the duo specifically focused on and delighting at the intersection of shoegaze, ambient electronica and hip hop, actively and restlessly pushing hip hop towards new psychedelic textures. “He [Blood] takes my ideas and clarifies and pronounces them, helps me realize them,” explains Butler in press notes. “He helps me get to the essence.”

Butler and Blood’s Knife Knights debut, last year’s 1 Time Mirage came as a result of about a decade of collaboration and the development of a very rich and dear friendship.  1 Time Mirage‘s material was recorded over the course of three different recording sessions, interrupted by Butler’s touring schedules with Shabazz Palaces and Digable Planets and Blood’s recording projects. The album finds the duo and a cast of collaborators crafting a lysergic soundscape that meshes elements of soul, shoegaze, hip-hop, drum ‘n’ bass, noise and chaos. 

1 Time Mirage’s latest single is the lysergic and woozy “Drag Rage Legend.” Centered around a wobbling bass line, stuttering beats, bursts of distorted, wailing guitars and Butler’s imitable flow, the much like its immediate predecessor continues with a narcotic yet noisy vibe. (Admittedly, I wonder how the song would sound under the influence of hallucinogens.)

Directed by Joshua M. Johnson, the recently released video for “Drag Race Legend” is a psychedelic tale of wasted youth that follows a sunglasses wearing young man with a penchant for street drag racing, skipping school and getting as high as humanly possible. He proclaims himself a legend, drinks spodie (also known as jungle juice and spodie odie, depending on where in the country you’re from) and parties too much. The video is looks as though it were filmed on rainy and distorted VHS tapes, with wavering explosions of color and fuzz, as the video’s protagonist goes through his daily routine. 

New Video: Introducing the Dance Floor Friendly Sounds and Trippy Visuals of FORCES

FORCES is a new synth-based act, comprised of romantic couple and collaborative duo Jess and Dave. And although the project is a relatively new project, it’s centered around the 20+ year relationship and collaboration between its creative masterminds, who may be best known in their native Canada for their previous, long-term band Golden Dogs. Throughout The Golden Dogs’ run, Jess and Dave wound up collaborating with a virtual who’s who  of contemporary, Canadian indie rock, including the then-future members of Zeus, Wax Atlantic and Brave Shores, along with Taylor Knox and Stew Heyduk — while opening for the Sloan, Feist, Bloc Party, The Libertines, Kaiser Chiefs, Thurston Moore and Roky Erickson. 

In 2017, Jess and Dave went into the studio and began working on what they thought would be the next Golden Dogs album, although deep down they both admit that they kind of knew that it wasn’t. What they started working on was a decided and radical sonic departure from the driving rock sound they’ve long specialized in and were known for. In fact, they were increasingly drawn to the a number of different production styles — in particular, The Dead Pets, Liquid Liquid, New Order, The Cure’s Close to Me and Timbaland. As a result, the duo, which splits its time between Montreal and Toronto began to experiment with synths, beatmaking and funky rhythms. 

Along with that Jess increasingly stepped up as a frontperson, taking on a sultry vocal approach paired with layered, punchy female harmonies. Simultaneously, Dave began to primarily focus on guitar textures and melodies. And of course, the material was primarily based around metronomic loops and electronics instead of the drums-bass-guitar they had long relied on. The end result is their debut single as FORCES, “Stay On Me.” The self-recorded, Graham Walsh and Jose Contreras-mixed track is centered around a funky Nile Rodgers-inspired guitar riff, layers of arpeggiated synths, thumping beats, a propulsive club-rocking groove and Jess’ sultry vocals that builds up to a cathartic sense of release. 

“The key lyric in ‘Stay On Me’ — ‘everything we all focus on, we become’ — reminds us to turn away from mind games in favor of focusing on what matters most in our lives, whatever that means,” the duo says about their glittering, disco bop.

Featuring FORCES’ Jess in over-sized movie star-like sunglasses, the recently released video is full of vibrant, neon-like colors and glitchy footage timed to the propulsive beats of the song to create a visual that’s trippy and mesmerizing. Look for more from the Canadian duo as they plan to release a new single every few months with an accompanying video. 

New Video: JOVM Mainstays Hannah Williams and The Affirmations Release a Slow-Burning Power Ballad

I’ve written a bit about Bristol, UK-based singer/songwriter and soul artist Hannah Williams over the past couple of years. The Bristol-based JOVM mainstay can trace some of the originals of her musical career to growing up in an extremely musical household — her father was a musician and minister. And as you may recall, Williams learned how to read music before she could read words — and as as the story goes, when she was a young girl, her mother introduced her to Motown and Bill Withers, which wound up transforming her life. Interestingly, Williams’ mother quickly recognized that a young Williams had talent and encouraged her to join the church choir. 

With the release of “Work It Out,” off 2012’s full-length debut Hill of Feathers, Williams and her first backing band The Tastemakers, quickly emerged into national and international soul circles with the track receiving attention across the blogosphere and airplay on radio stations across the States, Australia and the European Union. Interestingly, at one point “Work It Out” was one of the most downloaded songs in Greece and the video has amassed over 1.5 million streams on YouTube. Building upon a growing profile, Williams played sets across the European festival circuit, including stops at Shambala Festival, Valley Fest, Wilderness Festival, Cambridge Jazz Festival and Larmer Tree Festival, as well as some of Europe’s most renowned clubs, including Hamburg, Germany‘s Mojo; Manchester, UK’s Band on the Wall; Camden, UK‘s Jazz Cafe and others with the likes of JOVM mainstays  Sharon Jones and The Dap Kings, and Charles Bradley, as well as Cat Power.

Williams’ 2016 Michael Cotto-produced sophomore album Late Nights and Heartbreak was the first recorded output with her current backing band, the Bristol-based soul outfit, The Affirmations, currently comprised of James Graham (organ, piano and Wurlitzer), Adam Holgate (guitar), Adam Newton (bass), Jai Widdowson-Jones (drums), Nicholas Malcolm (trumper), Liam Treasure (trombone), Victoria Klewin (baritone saxophone) and Hannah Nicholson (backing vocals). The album continued to build upon Williams’ growing profile in soul music circles, thanks in part to the Dusty Springfield-like torch song “Tame in the Water” and the psychedelic soul-tinged edition of “Dazed and Confused.” In fact, the album was one of my personal favorites that year.  

Over the course of the following year, Hannah Williams and The Affirmations received even greater international attention, after smash hit-making producer  NO I.D. sampled the heart aching hook of  “Late Nights and Heartbreak” for Jay-Z‘s “4:44.” “It was an incredible catalyst,” Williams says in press notes, “as a change in our collective career, and getting a global audience. Suddenly, there were millions of predominantly American hip-hop fans listening to my voice, going ‘Is this from the ’60s? Is she dead?’” Unsurprisingly, as a  result of the attention they received from “4:44,” the rising soul act spent the better part of 2018 on the most extensive touring schedule of their collective careers, including stops at SummerStage, Rumsey Playfield, Central Park, Brooklyn Bowl, the Toronto Jazz Festival and across the European Union, where they expanded their fanbase.

With growing attention on them, the members of the rising soul act were determined to make the record of their lives. And in order to do so, they recruited Shawn Lee, an acclaimed funk/soul artist and producer to work on Williams’ third album 50 Foot Woman. Slated for release this Friday through Record Kicks Records, the album reportedly finds the members of the band accurately capturing the visceral power of their live show on wax — all while further establishing a sound that equally draws from classic soul, psych soul and funk, with a subtly modern take.

“50 Foot Woman,” the album’s title track and first single was a strutting and explosive stomp that sonically was one part Ike and Tina Turner-era classic soul and one part fed-up tell-off to haters, naysayers and others and one part Daptone Records-like soul — with a fed-up narrator, who has finally had enough with the bullshit and games. But at its core, the song is a contemporary feminist anthem of a strong woman being done wrong and who figures out a way to survive and then thrive. The album’s second and latest single “I Feel It” is a primarily a slow-burning ballad, centered around Williams’ expressive powerhouse vocals, twinkling keys, a sinuous bass line, a horn section that can compete with the Dap Kings and a production that’s effortlessly old-timey without resorting to soulless mimicry or homage. But more important, Williams is superstar in the making — she can pair soulful vocals with gut-punching earnestness in a way that’s rare in this age.

Directed and filmed by BD, the recently released video for “I Feel It” is an incredibly stylized and cinematic shot visual featuring the band performing the song in a 60s-like studio space, complete with some brooding close ups of the members of the band. 

New Video: The Black Fever’s Old-Timey Visual for “Marketing”

With the release of 2010’s Romanticism, 2012’s Revisionist, 2014’s A Little Help EP and 2015’s Midnight Century, the Toronto-based post-punk act The Black Fever — Shoe (vocals, guitar), Pat Bramm (bass, backing vocals) and Dan Purpura (drums) — have firmly established a sleek and propulsive take on post punk that focuses on melody and concise songwriting.  

Recorded over two intense and breakneck recording sessions, their Ian Gomes-produced EP Unarticulated Wants was released earlier this year, and the EP’s first single is the hook-driven, Editors meets Radio 4-like “Marketing.” Centered around a propulsive and angular bass line, thunderous drumming and Shoe’s plaintive vocals, the track seethes with frustration over the fact that every single moment of daily life is inundated with advertisements. It’s inescapable and oppressive manipulation to convince you to spend early and often on that new shiny thing that will make you more attractive and more interesting to others, that will help you lose weight, restore your receding hair line, keep your erection, and just make you feel whole. And yet, there’s a gnawing emptiness that can’t be resolved by possessions or by spending. 

“We need to find a better balance between ads and public art — for art’s sake.” the band said in an emailed statement. Naturally, the song expresses a concern over what the over saturation of advertising and marketing messages does to the human soul and mind. 

The recently released video for “Marketing” is centered around incredibly manipulative stock footage of old commercials. Although the context for each commercial has been removed, each commercial is meant to make you feel something — envy, pleasure, lust. hunger, despair, all in the desperate attempt to get you to buy right now. And it should feel infuriating and fucked up. 

New Video: Rapidly Rising Artist Julien Chang Releases a Lysergic Visual for “Memory Loss”

Over the past couple of moths, I’ve written a bit about the rapidly rising, 19-year-old Baltimore-born multi-instrumentalist, singer/songwriter, producer and current university student Julien Chang (pronounced Chong). Chang surprised his peers when he quietly began releasing original music during his senior year in high school. Initially only thought of just as a trombone player, the Baltimore-born, singer/songwriter, multi-instrumentalist and producer’s earliest material found him playing multiple instruments while meshing pop-leaning melodicism, psych rock and jazz fusion-leaning experimentation and improvisation with a sophistication and self-assuredness that belied his relative youth.

Now as you may recall, those early releases caught the attention of Transgressive Records, the label home of SOPHIE, Let’s Eat Grandma and JOVM mainstay Neon Indian, and the label recently released Chang’s highly anticipated full-length debut Jules last Friday. So far I’ve written about the album’s two previously released singles  — “Of The Past,” a sleek, early 80s-like synth funk-based track centered around dexterous musicianship and pop melodicisim and the slow-burning, Sgt. Pepper-era Beatles-like “Butterflies from Monaco.” Interestingly, the album’s third and latest single “Memory Loss” is centered by syncopated blips and bloops, a sinuous bass line, shimmering synths and Chang’s plaintive falsetto and a yearning for an unreachable and halcyon-tinged past. And while seemingly influenced by 80s synth funk, the song continues a run of incredibly self-assured singles featuring some dazzling musicianship and big hooks.

“A worsening memory is something I’ve always been worried about,” Chang explains. “The song was made with a kind of structural rigidity in mind, and about memory’s natural lack of it when having trouble putting faces to names, for example. It’s easy to be frustrated by that feeling, but being left with a sudden emotional reaction sparked by some stimulus for an unclear reason can be as lovely as it is disorienting.”

Directed and shot by Haoyan of America, the recently released video for “Memory Loss” is shot through a disorientating and lysergic haze with a wistfully nostalgic air, as it’s centered around memories of a  lover, dreamy and easygoing summer days and trippy imagery. “The ‘Memory Loss’ video was shot by Haoyan of America. The vision was totally his, arrived at after spending some time talking to each other about the song,” Chang explains. “That’s what I wanted to do when we first started looking for video directors—find an artist that I trust and have them commit to their own path of inspiration. I think a lot of music videos require the visual artists to bend to the will of the musician. It was really exciting to see Haoyan work as an artist creating something that both augmented my song and stood on its own an independent and magnificent visual piece.”