Tag: New Video

New Video: Follow an Astronaut in Search of the Happiest Planet in the Galaxy in Adorable Animated Video for Mind of Max’s “Lost in My Love”

Max Weiner is an American-born singer/songwriter, multi-instrumentalist and visual artist. His visual art is influenced by the folk and psychedelic movements of the 60s and 70s, as its centered by a bold and trippy vibrancy, while his music with his solo recording project Mind of Max has been comparably to the likes of Fleet Foxes, Paul Simon, and Bon Iver.

Following the release of his second EP, 2013’s Seasons, Weiner was invited to The Netherlands to open for Dutch folk rock act AlascA on a two-week tour of Germany and Holland. While driving to Amsterdam, AlascA’s Frank Bond played an album by the country folk act Plainsong. And as the story goes, Weiner was hooked by the melodic bend of the pedal steel, the delicate slide of the dobro and the close knit vocal harmonies of the band.

Returning home from the tour, Weiner began writing and recording demos influenced by the sounds he’d heard while on tour; in fact, he purchased a pedal steel guitar and taught himself how to play in a style that he felt would compliment his new sonic direction. Those demos would eventually inform the material on his full-length debut The Key.

Unable to secure a producer that felt right for the album, Weiner produced and performed the songs on the album by himself. Four years later, the album was finished. “Recording an album on your own can be a brutal process,” Weiner says in press notes. “At times, I felt like I was losing my mind and I wanted to call it quits. But I’m so proud of the work I’ve done on this record. I’ve grown in my ability to serve the song and not my ego. Above all else, I’ve learned to believe in and trust myself as a musician and producer. I’d like to feel that everyone can find something within these songs that identifies with their struggles as well as their triumphs. We’re all on a similar path in this world, and I hope you feel a bit of peace knowing you’re not alone on your journey.”

The Key’s latest single is the breezy, Crosby Stills and Nash-like “Lost in My Love.” Centered around twangy, country folk-like guitars paired with some gorgeous layered harmonies, the song is a tale of being so infatuated with the idea of having someone in your life that you miss the obvious red flags — and learning from it so that the next time you’re in that situation, you see it with clear eyes.

Featuring bold and colorful animation from Aishwara Sadasivan, who wrote the video’s story in partnership with the folks at The Wild Honey Pie, the recently released and adorably sweet video follows an astronaut in search of the galaxy’s happiest planet. “We pulled from design elements used on my album cover and Aish’s vibrant, colorful creatures and world building brought a real sense of whimsy and magic. Her unique narrative of an astronaut in search of the galaxy’s happiest player was a fresh approach and I’m thrilled to see it all come together so well.”

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New Video: Geneva Switzerland’s L’Eclair Releases Trippy, Lo Fi Visuals for”Castor McDavid”

Comprised of Sebastien Bui (keys), Eli Ghersinu (dino bass), Stefan Lilov (broken wah guitar), Yavor Lilov (kicker’s delight/endless kick/bronto kick), Quentin Pilet (bongos), Alain Sandri (congas) and DJ Laxxiste (440 FX), the Geneva, Switzerland-based instrumental act L’Eclair describe their sound in a number of different ways on their Facebook page, including “as if Booker T and the MGs came from Eastern Europe,” an obscure 70s movie soundtrack and as “kraut-exo-soul, brutal funk and Turkish groove.”

The Geneva, Switzerland-based instrumental act’s forthcoming sophomore album Sauropoda is slated for a May 24, 2019 release through Beyond Beyond Is Beyond Records — and the album, which was recorded over the course of two days last October in an undisclosed mountainous location is comprised of deep jams the band road-testing following the recording and release of last year’s breakthrough debut album Polymood. Recorded live and with few overdubs, Sauropoda‘s compositions are reportedly much more organic and capturing the band’s live sound much more accurately than its predecessor.  Interestingly, the album’s trippy and cinematic first single “Endless Dave” it’s a wild yet seamless synthesis of Expensive Shit/He Miss Road-era Fela KutiReturn to Forever-like jazz fusion, prog rock, dub and spaced out psychedelic and 70s soul that sounds both familiar and unlike anything I’ve heard this year.

The recently released video by banditbandeau features incredibly lysergic and lo-fi visuals including wild splashes of color, hypnotic moving shapes and geometric figures that look like textbook figures describing the curvature of spacetime, mixed with found footage and early computer rendered graphics undulating to the funky groove.

New Video: Speed Through the Streets of Kinshasa in Visuals for TSHEGUE’s Thumping “The Wheel”

Born in Kinshasa, Democratic Republic of the Congo, Faty Sy Savanet and her family emigrated to Paris when she was eight. In her early twenties, a mutual friend connected Savanet with Robert Wyatt collaborator Bertrand Burgalat, whose label, Tricatel has been referenced as a major influence of the likes of Air and Daft Punk.

Burgalat encouraged and enabled many of Savanet’s formative musical experiments, including a short-lived voodoo ‘n’ roll band. Interestingly, Savanet’s latest project TSHEGUE, which derives its name from her childhood nickname, a Congolese slang term for the boys who gather on Kinshasa’s streets, can trace its origins to when she met her bandmate, French-Cuban producer Nicolas ‘Dakou’ Dacunha.

Their debut EP, 2017’s Survivor thematically explored the challenges faced by the African Diaspora paired with Dacunha’s forward-hthinking, hypnotic, club-banging productions which features elements of Afropunk, garage rock and electro-clash. Survivor EP was championed by the likes of Mura Masa and Noisey, which led to a growing international profile. And adding to a growing profile, the video for “Munapoto,” which was shot on the Ivory Coast received a UK Music Video Award nomination alongside videos for tUnE-YaRdS and Chaka Khan.

“The Wheel,” the first bit of new material from the duo since the release of Survivor EP, and I’m certain that it’ll further cement TSHEGUE’s growing reputation for crafting swaggering, forward-thinking, genre and style-blurring bangers. Centered around a wildly exuberant, hypnotic and percussive production featuring ricocheting industrial clang and clatter, stuttering, tweeter and woofer rocking beats, explosive blasts of bass synth paired with Savanet’s commanding flow, the song bears a resemblance to JOVM mainstays Kokoko! as it sounds as though it comes from a sweaty, post-apocalyptic future where the club and the ghetto are one and the same — but delivered with a decidedly punk aggressiveness.

Directed by Renaud Barret, who was also behind the Africa Express documentary featured Damon Albarn, Peter Hook and Tony Allen, the recently released video for “The Wheel” was filmed in a gorgeously cinematic black and white amidst the chaotic traffic of Savanet’s hometown, follows members of the local, mixed-gender, teenaged skating club, Club Etoile Rollers hitching rides on the backs of speeding busses, cars, motorbikes through the heaving megalopolis’ crowded streets. Speaking about the video Barret says ““An ordinary day in Kinshasa. I’m in a taxi on Lumumba Boulevard, when suddenly I’m in the middle of this gang of kids slaloming between cars. We exchange thumbs up, signs of complicity, rolling side by side for a moment. One of them spots my camera, and comes closer to shout ‘Hey sir! Do you wanna shoot something crazy?’ I couldn’t refuse. This is the magic of a limitless city where each and every day brings incredible spontaneous possibilities. Now as I watch the beaming faces of these kids, thrown at full speed on their crumbling rollers, almost out of control, intoxicated by danger and only protected by their faith in good luck; I can only see a metaphor for the Congo’s situation. But also a middle finger to a society trying to maintain an illusion that everything should be controlled, supervised. These free riders remind us that life must be lived in the present.”

The duo has begun to make a name for themselves with commanding live performances, including sets at Lowlands and The Great Escape Festivals and from what I understand the act will be announcing a series of headlining UK live shows to coincide with the release of more new material.

New Video: Acclaimed Japanese Punk Act Releases Cinematic Visuals for Blistering “datsu hike no onna”

Over the past few months of this year, I’ve written a bit about the  Kyoto, Japan-based garage punk act Otoboke Beaver (おとぼけビ~バ~ in Japanese), and as you may recall the act which is comprised of Accorinrin (vocals, guitar), Yoyoyoshie (guitar, vocals), Hirochan (bass, vocals) and Kahokiss (drums, vocals) can trace their origins to when they all were members of Kyoto University’s music club.

Shortly after their formation, the quartet quickly received attention both locally and nationally for pairing incredibly dexterous musicianship with their frontwoman’s confrontational stage presence. Interestingly, when  Damnably Records released the Okoshiyasu!! Otoboke Beaver compilation, the Kyoto-based punk act began receiving airplay internationally from BBC Radio 6′Gideon Coe and Tom RavenscroftXFM’s John Kennedy, as well as praise from the likes of PitchforkNPRi-Dand The Fader.

Building upon a rapidly growing international profile, the members of the band made critically applauded and attention-grabbing appearances at SXSW and FujiRock Festival, played a sold out show at London‘s 100 Club — and their Love Is Short 7 inch charted in the UK for 4 weeks. Last year, the band went on a tour of the UK that was bookmarked by slots at Coachella.

The band’s newest album ITEKOMA HITS is slated for an April 26, 2019 release through their longtime label home Damnably Records, and from the album’s first three singles “Anata Watashi Daita Ato Yome No Meshi,” “Don’t light my fire” and “I’m tired of repeating your story” the Japanese band revealed that their specialized in feral and defiantly feminist rippers that drew from noise punk, no wave, prog rock and riot grrrl punk, centered around blistering power chords, rapid-fire chord progressions and tempo changes and shouted lyrics. The album’s fourth and latest single “datsu, hike no onna” continues in a similar vein as its immediate predecessor — furious, straightforward punk that bristles with discontent and frustration.

Directed by Haruka Mitani, the video for “datsu, hike no onna” marks an important first for the band — the first time they’ve collaborated with a female director. Shot in gorgeously cinematic 8mm film, the video focuses on a woman who is seemingly suffering from bipolar disorder — at one point manic and joyous, at another point murderous. Interestingly, as the band’s Accorinrin explains, the song “is a second woman’s song similar as my previous song’s themes. hikage no onna means woman in the shadows. It can be [a] metaphor for a mistress, an ‘illegitimate’ woman or a woman without a bubbly, outgoing personality. The message of this song is lamenting the oppression of being a woman in the shadows and about getting out from this suffering.”

New Video: Bobby Oroza’s Self-Directed Trippy Visuals for the Bitter Tell Off “Your Love Is Too Cold”

Bobby Oroza is a Helsinki, Finland-born and-based, Bolivian-Finnish singer/songwriter, producer and percussionist, who was raised by a family of musicians and artists. And as a result, a young Oroza was exposed to a wide range of music.  Family parties and get togethers frequently featured his Bolivian-born grandfather playing Latin and Cuban classics on his guitar or his parents playing album from their eclectic and diverse record collection, a collection that included early jazz and blues, Motown, gospel, doo-wop, soul, as well as Brazilian, African, North American and South American folk, and Nuyroican salsa, all of which influenced the music he began writing and working on.

Before completing high school, Oroza decided that he needed to experience and soak up the rhythmic source that inspired him the most, so he would up traveling to Santiago de Cuba, where he intensively studied percussion and singing. Since returning to Finland, the Bolivian-Finnish singer/songwriter, producer and percussionist has been busy producing, recording and performing music to make a living. He eventually teamed with Timmion Records’ house band/production duo Jukka Sarapää and Sami Kantelinen, best known as Cold Diamond & Mink, along with guitarist/composer Seppo Salmi, who have helped achieve his artistic vision — smokey, late night, lo-fi soul paired with Oroza’s plaintive tenor crooning over the mix.

Now, as you may recall, the Bolivian-Finnish singer/songwriter’s full-length debut This Love is slated for a May 3, 2019 release through Big Crown Records, and from slow-burning and ethereal album single “Deja Vu,” Oroza specializes in deeply anachronistic singer/songwriter soul with that particular track sounding as though it could have been released sometime between 1971 and 1974. Interestingly, the album’s latest single is the shimmering and mid-tempo “Your Love Is Too Cold.” Centered around Oroza’s ethereal and plaintive vocals, jangling and shimmering guitars, soaring organs, a punchily delivered hook, punctuated with oohs and ahhhs, and a propulsive rhythm section, the album’s latest track sounds indebted to classic Motown era soul — all while being a bitter tell off, in which the song’s narrator describes finally seeing their lover as indifferent, careless and abusive, and then gathering the strength and confidence to finally leave.

Directed by Bobby Oroza, the recently released video stars Oroza as a washed up karaoke singer in a tiny, sparsely attended bar singing and bopping around while the staff and the one or two drunks in the bar dance with him. The video ends with everything returning to normal — everyone being bored and wishing they were someplace else.

New Video: Black Mountain’s Trippy Lo-Fi Visuals for Sultry “Boogie Lover”

Stephen McBean is a Vancouver, British Columbia, Canada-born, Los Angeles-based singer/songwriter and guitarist, who can trace the origins of his music career to when he became involved in the Victoria, British Columbia music scene, forming his first band Jerk Ward in 1981. In 1984, the band recorded a demo that was re-released in 2009 as Too Young to Thrash. Jerk Ward evolved into Mission of Christ (MOC), who recorded a split 7 inch in 1987 — but two years later, the band broke up and McBean relocated to Vancouver, where he started Gus, a band that released two singles, a split EP and a full-length album, 1995’s The Progressive Science Of Breeding Idiots For A Dumber Society, which lead to McBean’s first experience with extensive touring.

In 1996 McBean asked Radio Berlin’s Joshua Wells to join his new band Ex Dead Teenager. Much like his first band Jerk Ward, Ex Dead Teenager eventually morphed into Jerk With a Bomb. Signing with Scratch Records and Jagjaguwar, the band released three albums — 1999’s Death To False Metal, 2001’s The Old Noise and 2003’s Pyrokinesis, which featured Dream on Dreary’s Amber Webber contributing vocals.

While McBean and Wells were still writing, recording and performing as Jerk With a Bomb in 2003, McBean started to demo material that included “Black Mountain” and by the following year, the duo began working on demos under the name Black Mountain with contributions from Webber, Matt Camirand (bass) and Jeremy Schmidt (keys). Those early demos eventually led to their self-titled debut album and a split 7 inch with Destroyer that featured “Bicycle Man,” and was released by Scratch Records and Jagjaguwar Records.

Building upon a growing profile, Black Mountain toured across North America and Europe and by the following June, the band released the 12″ single “Druganuat”/”Buffalo Swan” in the US. In August 2005, the band opened for Coldplay during their Twisted Logic Tour.

2008 was a huge year for the band, their sophomore album In The Future was a finalist for the 2008 Polaris Music Prize, and the album received a Juno Award nomination for Best Alternative Album. Additionally, “Stay Free” was featured on the Spiderman 3 soundtrack.

By 2010, McBean relocated to Los Angeles, where they wrote and recorded their Randall Dunn and Dave Sardy-co-produced third album, 2011’s Wilderness Heart, an album that was long listed for that year’s Polaris Music Prize and appeared on !earshot’s Top 50 chart.

2016 saw the release of their fourth album, the aptly titled IV. Since then the band has gone through a series of lineup changes and now features McBean along with Arjan Miranda, Rachel Fannan, Adam Bulgasem and Jermey Schmidt. Interestingly, during that same period McBean got his first proper driver’s license — and for him, it was as though he essentially became a teenager again, discovering a new sense of personal independence and freedom.

In fact, the band’s forthcoming album, Destroyer, which derives its name from the discontinued single-run 1985 Dodge Destroyer muscle car, reportedly is imbued with the wild freedom and newfound agency, anxiety and fear that comes from one’s first time behind the wheel. Interestingly, the album’s latest single is the serpentine, slow-burning, whiskey fueled- boogie strut “Boogie Lover,” a track meant to evoke cruising down the Sunset Strip. Clocking in at a little over 6 minutes and centered by wah wah pedaled guitar, thumping drumming, sizzling synths, the track manages to draw from space rock, doom metal and stoner rock simultaneously — all while being incredibly sultry and apocalyptic.

New Video: Austin-based JOVM Mainstays Blushing Release Woozy and Hallucinatory Visuals for “Dream Merchants”

I’ve written quite a bit about the Austin, TX-based dream pop/shoegaze quartet Blushing over the years, and as you may recall, the act, which is comprised of two married couples — Christina Carmona (vocals, bass) and Noe Carmona (guitar, keys) and Michelle Soto (guitar, vocals) and Jake Soto (drums) can trace its origins back to 2015 when after several years of writing material on guitar, Michelle Soto recruited her classically trained friend Christina Carmona to join her new project. Shortly after, Soto and Carmona recruited their spouses to complete the band’s lineup.

The then-newly formed quartet spent the following year or so writing and revising material before heading to Bad Wolf Recordings to record their debut EP Tetherwhich was released to positive reviews across the blogosphere, including this site. Building upon a growing profile, the Austin-based shoe gazers returned to the studio to record their sophomore EP Weak, which featured EP title track “Weak,” a track that further cemented their reputation for crafting material that was indebted to LushCocteau Twins and The Sundays while being a gentle refinement of the sound and aesthetic that first caught the attention of this site and the rest of the blogosphere.

Blushing ended last year with the release of the Elliot Frazier-produced and mixed “The Truth”/”Sunshine” 7 inch, which was released both digitally and on colored vinyl through The Nothing Song Records. “The Truth”/”Sunshine” 7 inch found the Austin-based JOVM mainstays expanding upon their sound with “The Truth” being one of the more muscular songs of their growing catalog while retaining the haziness that has won the attention of the blogosphere.

2019 may arguably be one of the biggest years of the band’s relatively short history: they’ve made their second SXSW showcase earlier this year, which they followed with their first West Coast tour — and their highly anticipated full-length debut is slated for release this summer. The full-length album’s first single is the woozy and swirling “Dream Merchants,” a track that continues in a similar muscular and feedback-filled vein as “The Truth” — and while centered around the dual, ethereal harmonizing of Christina Carmona and Michelle Soto, the track evokes the sensation of a vivid yet half-remembered dream. Unsurprisingly, the track is about the power of dreams and their premonitory value on waking life.

The recently released video is an acid-tinged hallucination that’s split between footage of the members of the band performing in front of a psychedelic background, the writing of the song fueled by an incredibly vivid dream and a brush with the occult. “The video concept came about because Christina had a dream about a dear friend who passed away. In the dream he was telling her to go to New Orleans,” the band explains in press notes. “A month later we were planning our trip back from Athens Georgia where we were playing Athens Pop Fest and realized we would be driving back through New Orleans. She decided she should get a tarot reading while there because of the significant coincidence. Unfortunately the tarot reading wasn’t able to happen but it did inspire the lyrics she sings during the bridge and the music video where we see her get a reading.

New Video: Film School’s Glitchy and Hazy Visuals for “Influencer”

Currently comprised of founding member Greg Bertens (vocals, guitar) along with Jason Ruck (keys), Nyles Lannon (guitar), Justin Labo (bass) and Adam Wade (drums), the acclaimed, Los Angeles-based shoegazer act Film School can trace its origins to when Bertens founded the band as a primarily solo act in which he worked with members of Fuck and Pavement for the recording of the band’s full-length debut, 2001’s Brilliant Career. Ruck, Lannon, Labo and Ben Montesano (drums) were all recruited to compete the band’s first permanent lineup later that year.

2003 saw the release of the Alwaysnever EP, an effort that was recorded in Lannon’s bedroom and shortly after the release of the EP, the band went through a series of lineup changes — with the first being Donny Newenhouse replacing Montesano on drums. 2006 saw the release of their self-titled sophomore album, their first through renowned indie label Beggars Banquet. They also provided the music for a series of short films by Demetri Martin, known collectively as “Clearification,” which was used for an ad campaign for Windows Vista.

The band went through another a massive lineup change that featured Lorelei Plotczyk replacing Labo on bass, Dave Dupuis replacing Lannon on guitar, and James Smith replaced Newenhouse on drums and then relocated to Los Angeles before releasing their third full-length album 2007’s Hideout, which was primarily written by Bertens and recorded with Dan Long.

The band’s fourth full-length album Fission, which found the band exploring new sonic territory was released to mixed reviews by fans and critics in 2010. The band played what was considered their last official show the following year and went on an indefinite hiatus for several years before the band’s self-titled era lineup reunited for a one-off show at San Francisco‘s Bottom of the Hill to celebrate Newenhouse’s 40th birthday that focused on early material. Interestingly, the reunion eventually resulted in 2016’s June EP, which found the reunited band returning to their signature spacious sound.

Film School’s fifth, full-length album, last year’s Bright to Death was written and recorded as a labor of love, with tempered expectations, since it was the band’s first album in eight years. Recorded over an eight day period in November 2018 on the outskirts of Joshua Tree, CA, the album’s title is derived from text on a piece of art that Bertens had seen as part of an exhibit by Chinese students on the topic of global warming. As they were recording in the sun-blistered environs of Joshua Tree, the phrase “Bright to death” popped into Bertens’ head and it stuck.

Featuring four members of the band’s original lineup and Shudder to Think and Jawbox’s Adam Wade contributing on several songs, the album’s sessions came about almost by accident. As the story goes, Bertens was at a Fourth of July get-together and was grumbling to Justin Labo about a recent bout with writer’s block. In the ensuing months after recording the June EP, work and family responsibilities had seemingly zapped Bertens of his creativity. At the time Bertens joked “The only way, I could write is if I were out in the desert for a week.” A few hours later, Bertens received a phone call from Labo: Labo had the go-ahead from his wife and kids to go to the desert to write and record. Greg’s offhanded remark had awakened “a pent-up lust to make music the way we wanted to,” in Justin’s words. It wasn’t long before Nyles Lannon (guitar/backing vocals, also a dad) and Jason Ruck (synths) were on board, too.

As for the sessions themselves — after Bertens returned from his dawn run, the members of the band would hunker down in a small outbuilding that functioned as a simple studio. “It was perfect,” the band’s Labo said “We set up our laptops and fashioned a makeshift DIY recording setup. It brought us back to [2003] when we recorded the Alwaysnever EP in Nyles’s bedroom.” They would spend all day and most of the night working, taking breaks only to eat and to catch a few hours of sleep. “At some points we had two recording setups going simultaneously,” Labo recalls. “Greg and Nyles might be working on an arrangement or vocals, while me and Jason would be tracking keyboards and bass for another idea. We recorded for eight days straight, right up until the very last moment.”

The band will be releasing a new EP sometime this year, and its first single is the hazy and atmospheric “Influencer.” Centered around four-on-the-floor, buzzing and arpeggiated synths, shimmering, pedal effected guitars and an anthemic hook, the song manages to bring Silversun Pickups but with an ambivalent and ironic detachment. Interestingly, the song is a a nod to people’s ambivalence and as Greg Bertens says in press notes how we “cringe at fake positivity yet we desperately want to be shown a model for the good life. We’re doomed!” The recently released video features a sweeping, glitchy landscape which emphasizes the song’s hazy and dreamy vibes.

New Video: Acclaimed Melbourne-based Punk Act Amyl and The Sniffers Release Campy Visuals for Anthemic “I Got You”

Featuring Amy Taylor (vocals), Gus Romer (bass), Bryce Wilson (drums) and Declan Martens (guitar), the Melbourne, Australia-based punk act Amyl and The Sniffers formed in early 2016 — and during that year, they wrote, self-recorded their debut EP Giddy Up. The Aussie quartet followed up with 2017’s Big Attractions EP, which they re-released as a double 12 inch EP with Giddy Up through Homeless Records in Australia and Damaged Goods in the UK.

The band made their international touring debut with an appearance at The Great Escape Festival and series of sold out London area shows, which they followed up by joining JOVM mainstays King Gizzard and the Lizard Wizard for a 22 date Stateside tour. They made triumphant returns to the UK and the US that included packed houses and rave festival reviews. They ended the year by signing with Flightless Records for distribution across Australia and New Zealand and Rough Trade for the rest of the world — and they were also nominated for a Best New Act at the Q Awards and won the $30,000 Levis Prize.

The Aussie punk quartet took this year’s SXSW by storm, receiving gushing praise from the likes of Rolling Stone, Austin Chronicle, NMEAustin-American Statesman, BrooklynVegan, DIY and others. Building upon a buzz worthy and growing profile, the members of Amyl and The Sniffers will be releasing their highly-anticipated self-titled, full-length debut is slated for a May 24, 2019 through Flightless Records and Rough Trade Records — and the album’s latest single, “Got You” is a completely unhinged and explosive take on ’77 era punk, complete with a rousingly anthemic hook, enormous power chords paired with Taylor’s snottily delivered vocals. “‘Got You’ is about that feeling you get when you first start seeing someone and you’re excited to see them, no matter what shit they got,” the band’s Amy Taylor explains. “You just see them at the pub and it feels like the most exciting thing in the world, like you’re so lucky they’re even there. It’s definitely one of the ‘sweetest’ songs on the album and less punky. It was kind of inspired by Split Enz.”

Directed by Melbourne-based director Triana Hernandez, the recently released video for “Got You” features the members of the band in a dysfunctional and possessive relationship. The band’s Taylor adds “We worked with Melbourne director Triana Hernandez for the video and we decided to make it less like a love song and more cheeky. We wanted to play with the power dynamics a bit and turn ‘I got you’ into ‘I literally own you’, just to make it a bit more dark. It’s obviously not a healthy relationship but that kind of thing is easy to slip into, too.”