Tag: New Video

New Video: Grieves’ Call to Celebrate and Live Life Urgently in Visuals for “A-Okay”

Benjamin Laub, best known in hip-hop circles as Grieves is a  Chicago, IL-born, Seattle, WA-based emcee, by way of New York, Colorado and San Diego, CA, who with the release of his first four full-length albums — 2007’s independently released album Irreversible, 2010’s Budo-produced 88 Keys & Counting, 2011’s Budo-produced Together/Apart, and 2014’s Winter & the Wolves — has managed to achieve critical and commercial success; in fact, 2011’s Together/Apart debuted at #112 on the Billboard Top 200, and 2014’s Winter & the Wolves debuted at #57 on the Billboard Top 200.

His Chords-produced fifth, full-length album Running Wild was released earlier this year through renowned indie hip-hop label Rhymesayers Entertainment, the label home of JOVM mainstay Atmosphere and others, and if you had been frequenting this site around then, you’d recall that album single “What It Dew” found the Seattle-based emcee focusing on succeeding against all odds, despite haters and naysayers over a swaggering and soulful production consisting of electric guitar, boom bap beats, brief bursts of organ and swirling electronics. But underneath the swaggering and slick production and witty punchlines is a honest devotion to pure hip hop — i.e., dope production and dope emcee paired together. 

Running Wild’s latest single “A-Okay” features yet another soulful production consisting of stuttering drum programming, twinkling organ, a sinuous bass line and warm blasts of guitar paired with an infectious hook but at its core is a call to celebrate and live life with  urgency and passion as the song finds the renowned Seattle-based emcee essentially saying “life is short, and sometimes we gotta turn this motherfucker out and cherish the small things”  because ultimately, life is about the small things: the smile of a potential lover at the club or at the bar, the drinks and bullshitting about music, life and art with friends, listening to your favorite song on your headphones or at your favorite bar, etc. And as a result, the song manages to feel appreciative, as its narrator recognizes how truly blessed they are to be alive and in the moment. 

Directed by Ryan “Pants” Gross,” the recently released video for “A-Okay explores a series of carefree and fun situations through the eyes of a stereotypically miserable Debbie Downer type. As the renowned emcee comments, “Life is way too short to be mad at other people’s enjoyment. Go out and live a little, rent a hot tub boat, get your butt touched, whatever…Just smile!”

New Video: The Hazily Psychedelic Visuals for The Babe Rainbow’s “Monkey Disco”

Throughout the fall, I’ve written quite a bit about the up-and-coming Bryon Bay, Australia-based band The Babe Rainbow. And as you may recall, the act, which is comprised of Bryon Bay, Australia-born and-based founding members Jack “Cool-Breeze” and Angus Darling The Hothouse Flower with Venezuelan-born pianist Lu-Lu-Felix Domingo can trace their origins to when its founding duo started a songwriting partnership while in middle school; however The Babe Rainbow started in earnest in late 2015 when the founding duo met Venezuelan-born pianist Domingo while they were traveling in France.

The trio’s self-titled debut was produced by King Gizzard and the Lizard Wizard’s Stu Mackenzie, and from album single “Johny Stays Cool,” the band specializes in lo-fi, off-kilter funk inspired by African Diaspora-like rhythms and breezy, Tropicalia-like melodies, while being reminiscent of The B52s. Interestingly, the album’s latest single “Monkey Disco” finds the Australian band meshing sweaty, tribal house, Afropop, psych pop and lo-fi New Wave in a way that’s reminiscent of Fear of Music-era Talking Heads and Zonoscope-era Cut Copy, but while possessing an off-kilter, quirky quality. 

The recently released music video was written and directed by S.L.Kristofski and The Babe Rainbow in conjunction with the Y.P.S.M.C (Young People’s Society of Music for Chameleons) and features hazily lysergic imagery and vibrant colors — and much like the sounds that accompany it, it manages to be mischievously anachronistic. 

New Video: Up-and-Coming Soul Act Million Miles Returns with Visuals for Bittersweet and Swooning New Single

Paris-born, London-based singer/songwriter Sophie Baudry is the creative mastermind behind the up-and-coming soul project, Million Miles, and interestingly enough the project is the culmination of a life-long love affair with soul music. After studying at Boston’s renowned Berklee College and a stint working as a recording engineer and studio musician in New York, Baudry returned to London and felt an irresistible pull to create her own music inspired by likes of Ray Charles and Bill Withers.  

On an inspired whim, Baudry wound up in Nashville, TN. The French-born, British-based singer/songwriter spent her first few days in Nashville wandering, exploring and reaching out to strangers as though she were saying, “I’m new here and I’m a songwriter and i’m looking for people to collaborate with.” Baudry had chance meetings with local songwriters and producers Robin Eaton and Paul Eberson, and within an hour or so, they began writing material together. 

Now, if you’ve been frequenting this site over the past couple of months, you may recall that Baudry’s Million Miles debut, Berry Hill EP was recorded over the course of a year during multiple sessions at Robin Eaton’s Berry Hill home studio. And the effort reportedly focuses on the journeys taken and lessons learned in the singer/songwriter’s life; in fact, EP single “Can’t Get Around A Broken Heart” revealed that Baudry specialized in an easy-going, effortless singer/songwriter/balladeer-based soul reminiscent of  Bill Withers and Sandra Rhodes’ sadly under-appreciated and seemingly forgotten debut Where’s Your Love Been. And much like Withers and Rhodes, Baudry revealed a rare ability to express joy and heartache within a turn of a phrase, just underneath the Sunday afternoon vibes.
The EP’s latest single “Love Like Yours” will further cement Baudry’s growing reputation for crafting easy-going yet deliberately crafted soul that while influenced by Bill Withers also manages to nod at early Erykah Badu and Jill Scott; however, whereas the previous single focused on crushing heartache, the EP’s latest single is the antithesis — or perhaps even the begging of the songwriter’s story, as the song’s narrator expresses joy and relief over finding — finally! — that profound love she’s been looking for. Of course, deep down, we all know the perverse irony in these sort of love songs — that love, like everything else isn’t forever, and that it can be as disappointing and frustrating. And yet, what would our lives be without that constant search, without those impermanent yet so important moments of joy? 

As Baudry explains of the video treatment, “We shot this video at home on a rainy day. I filmed footage on a trip to LA and loved projecting it on the wall at home when I was writing or recording, it’s really quite inspiring. The song has always been a favourite of mine as lyrically its quite personal and really reminiscent of a specific time in my life, so I wanted to keep that feeling throughout the video, keeping everything really intimate and what’s more intimate than home.”

 

New Video: New Video for Nicole Atkins’ Soulful “Darkness Gets So Quiet” Offers Playful and Intimate Look at the Musician’s Life

JOVM mainstay Nicole Atkins is a Neptune, New Jersey-born, Nashville, TN-based singer/songwriter and multi-instrumentalist, who over the course of her recording career has developed a reputation for sound and songwriting approach that draws from 40s and 50s crooner pop, 60s psych rock and psych pop, soul music and Brill Building pop — with a number of critics comparing her and her sound to Roy Orbison and others. Now, if you’ve been frequenting this site, you’d recall that Atkins has publicity cited many of the favorites of her parents’ record collection as being major influences on her, The Ronettes, Johnny Cash, The Beach Boys, Cass Elliot, and The Sundays‘ Harriet Wheeler among others. 

Atkins started playing piano when she turned nine, and she taught herself how to play guitar when she turned 13, and as the story goes, by the time she was attending St. Rose High School in nearby Belmar, NJ, she was playing in a number of pick-up bands and playing gigs in and around the local coffeehouse circuit. After graduating high school. Atkins attended the University of North Carolina, Charlotte, where she studied illustration and ingrained herself within the city’s independent music scene. And while in Charlotte, she began writing original songs and befriending a number of local musicians; in fact, she can claim a brief stint in Nitehawk, a local supergroup that at one point had close to 30 members. Atkins also was briefly a member of Los Parasols, with whom she released The Summer of Love EP in 2002. But by the end of that year, she had relocated to Brooklyn, where she began to be influenced by the Rainbow Quartz Records roster, and began writing songs more along the lines of Wilco and Roy Orbison.

In 2005, Atkins ran into keyboardist Dan Chen, who she had known from playing gigs together at The Sidewalk Cafe, and Chen approached her about starting a band together, a band, which eventually became Nicole Atkins and The Sea. 
During a residency at Piano’s, the band won the attention of music industry attorney Gillian Bar and quickly found themselves in a bidding war between several record labels before signing with Columbia Records in early 2006. A the end of that year, Atkins and her backing band went to Sweden — Varispeed Studios in Kalegrup, Sweden and Gula Studion in Malmo — to record their Tore Johansson-produced debut effort Neptune City, which was released in October 2007 as a critical and commercial success, debuting at number 20 on Billboard‘s Top Heatseekers Chart and reached number 6 on the Heatseekers Middle Atlantic Chart.

2011 saw the release of her critically applauded, Phil Palazzolo-produced sophomore effort Mondo Amore. Recorded at Brooklyn’s Seaside Lounge Studio, Atkins’ new backing band The Black Sea featured Irina Yalkowsky (guitar), Mike Graham (drums) and Jermey Kay (bass). Atkins and her backing band played that year’s SXSW and were named by Spin Magazine as “the best live band of the festival,” and Mondo Amore received attention from the The New York Times and Rolling Stone.

During the winter of 2012 Atkins returned to Malmo, Sweden to record her third full-length effort Slow Phaser with Tore Johansson. Released in February 2014 to critical applause, the album landed at number 143 on the Billboard 200 based on the strength of singles “Girl You Look Amazing” and “Who Killed the Moonlight?” Adding to a big 2014 Atkins appeared on The Late Show with David Letterman, where she performed a new rendition of “War Torn” off her Live from the Masonic Temple, Detroit album, an album which was recorded while she toured as the opener for Nick Cave and the Bad Seeds.

Recoded at Fort Worth, TX‘s Niles City Sound, with a production team featuring Austin Jenkins, Josh Block and Chris Vivion and mixed by the Alabama Shakes‘ Ben Tanner, Atkins’ fourth album Goodnight Rhonda Lee marks two different things — the first being her first album in three years, the second being a marked sonic departure from her previous work. The album’s first single, co-written by Chris Issak, “A Little Crazy” was a delicate and soulful ballad that clearly nods to many of Atkins’ early influences — in particular, Roy Orbison with a hint of Patsy Cline. However, the album’s second single “Darkness Falls So Quiet” is a stomping and soulful track that nods at Dusty Springfield — and much like Springfield’s legendary work, Atkins’ vocals, which simultaneously express swaggering self-assuredness and aching loneliness are paired with a warm and soulful arrangement that features a gorgeous string section, twinkling keys and a Daptone Records-like horn section. And if weren’t for the subtly modern production, you may have mistaken the song for being released in 1963 or so. 

The recently released video for “Darkness Falls So Quiet” is comprised of intimate, black and white in-studio footage filmed at Niles City Sound, Fort Worth, TX that captures the both the magic and banality of the creative process in the studio, but along with that there’s live footage of Atkins and her backing band shot by WFUV, as well as iPhone footage of Atkins and her bandmates goofing off on the road. 

New Video: The Presets Return with an Anthemic Festival Banger Paired with Wild, Psychedelic Imagery

Comprised of Julian Hamilton and Kim Moyes, the Sydney, Australia-based electronic music production and artist duo The Presets can trace their origins to when the duo met while studying at the Sydney Conservatorium of Music. Hamilton and Moyes quickly became recognized for crating a sound that electronic dance music with an arena rock energy and vibe — and as a result, the duo signed with renowned Australian dance music label Modular Recordings, who released their first two EPs and their 2005 debut, Beams.

2008 saw the release of the duo’s critically and commercially applauded sophomore effort Apocalypso, an effort that went Triple Platinum in their native Australia and featured four smash hits, including “My People,” one of their biggest songs. And adding to a breakthrough year, Hamilton and Moyes won 5 ARIA Awards — including Album of the Year, 2 ARIA Artisan Awards, the J Award, the FBI SMAC Award for Album of the Year, and they shared the Songwriter of the Year at 2009’s APRA Awards. 

The duo’s third, full-length effort, 2012’s award-nominated Pacifica featured Rolling Stone Australia’s Song of the Year, “Ghosts,” and was nominated for an ARIA Award, shortlisted for the AMP Award, the J Award and was named the Herald Sun’s Album of the Year, the Daily Telegraph’s Album of the Year and the Sydney Morning Herald’s Electronic Album of the Year. And although, it’s been some time since I’ve personally written about the acclaimed, Aussie electro pop duo, the duo have been busy collaborating with a variety of artists —Hamilton cowrote Flume’s “Say It” and contributed tracks to albums by Flight Facilities, Steve Angello and Meek Mill, while Moyes produced the DMA’s latest album, remixed tracks by The Drones and The Jezabels and started an underground techno label Here To Hell.

“Do What You Want” is the first single from the duo in over four years, and it’s also the first single off the duo’s highly-anticipated fourth, full-length album slated for release sometime in 2018  — and unsurprisingly, the new single will further cement the duo’s reputation for crafting festival bangers with enormous, crowd rousing hooks and thumping beats; but interestingly enough, the new single features a looped, glitchy sample reminiscent of Boys Noize’s “ICH R U,” while also nodding at Tweekend-era The Crystal Method and Come With Us-era The Chemical Brothers. 

Directed by Kris Moyes, the recently released video is a wild, psychedelic homage to doing whatever the fuck you want, as long as it floats your boat, doesn’t harm anyone and is relentless and ridiculous fun. 

New Audio: Up-and-Coming British Duo Gold Fir Releases Vibrant and Surrealistic Visuals for New Single “Sirens”

Gold Fir is a London-based electro pop act comprised of a rather mysterious duo known only as James and Mabel, and if you’ve been frequenting this site over the past few months, you may recall that that the duo have received attention across the blogosphere for a sound that draws from 80s synth pop, classic electronic dance music and classic course music; in fact, “Night Walk”, which was released earlier this year, reminded me quite a bit of a dance floor friendly meshing 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.”

The mysterious British duo end 2017 with their latest single “Sirens,” a track that the duo says is”about welcoming different aspects of yourself to the dance floor,” sounds as though the duo was drawing from the likes of Soul II Soul’s “Back to Life” and “Get A Life,” Black Box’s “Everybody Everybody” and others as Mabel’s effortlessly soulful vocals are paired with a slick, house music-influenced production featuring layers of arpeggiated synths and twinkling keys, boom bap-like beats and an infectious hook. And while warmly nodding back at the sounds of the 80s and early 90s, much like contemporaries GL and others, they do so with a subtly modern take.

Directed by Tegen Williams, the recently released video continues the duo’s reputation for pairing their slick and soulful productions with strikingly surrealistic imagery — in this case, the viewer enters the mind of a music listener, and once instead we’re introduced to a pink-haired dancer, who first dances in an empty and darkened space before meeting some humanoid creatures. But much like its predecessor, there’s live action and hand drawn animation to evoke a dream-like state. As the duo says of the video treatment, “in life you’ve got to be whoever you want to be and the video was an ode to that sentiment; life is a dance like that.”

Live Footage: Royal Blood Performing “I Only Lie When I Love You” on “Conan”

Comprised of Worthing, UK-born, West Sussex, UK-based Mike Kerr (vocals, bass) and Rustington, UK-born, West Sussex, UK-based Ben Thatcher (drums), the British rock duo Royal Blood first met when the duo were briefly members of a local rock band, Flavour Country, in which Keer played keys and keytar; however, their collaboration together can officially traced back to a sabbatical Kerr spent in Australia, where he had started Royal Blood with Matt Swan on drums. And as the story goes, when Kerr eventually returned to his native England, his former bandmate Thatcher had picked up from the airport, and they immediately decided that they should start a band together. According to Kerr, the British iteration of Royal blood initially had a difficult time landing gigs and they wound up playing a lot of open-mic nights with acoustic singer/songwriters. 

After further developing their sound at Brighton Electric Studios, the band was signed to Warner/Chappell Music and the same management company that managed blogosphere darlings Arctic Monkeys, the duo began to receive a steady amount of buzz before the release of their first official single. Now, as you may recall, the duo released their sophomore effort How Did We Get So Dark? earlier this year to critical praise from USA Today, Rolling Stone, NME, Entertainment Weekly, and Forbes. Unsurprisingly, the album has also been a commercial success — it debuted at #1 on the UK Charts, as well as garnered over 30 million streams across Spotify and Apple Music and has sold over 250,000 copies. Adding to a breakthrough year for the British duo, they played at this year’s Outside Lands Festival and are finishing up a string of opening dates for Queens of the Stone Age throughout 2017 and 2018. (You can check out those remaining dates below.)
You may also recall that the swaggering, power chord-based arena rock friendly, album single “Lights Out”  reached #1 on the Rock Radio Charts as the #1 Gainer, marking the second time the band has reached #1 in their relatively young careers together. The duo were recently on Conan where they played the bluesy and scuzzy, power chord-based, ZZ Top-like “I Only Lie When I Love You,” which will further cement their reputation for crafting bombastic arena rock. 

New Video: The Sensual Visuals for Bryde’s “Desire”

With the release of “Help Yourself” and several other singles the Welsh-born, London-based singer/songwriter and guitarist Sarah Howells, best known as Bryde quickly exploded into both the British and international scene as she received praise from Nylon, The Line of Best Fit and Earmilk and airplay from BBC Radio 6, BBC Radio Wales, Radio X and Huw Stephens’ BBC Radio 1 show for a sound that’s been compared to the likes of Jeff Buckley, Sharon Van Etten, Ben Howard and London Grammar while thematically focusing on complex, ambivalent, and hopelessly entangled relationships.

Now, as you may recall Howell’s “Wouldn’t That Make You Feel Good” was a boozy and woozy dirge in which the Welsh-born, London-based singer/songwriter and guitarist’s aching vocals are paired with bluesy yet shoegazer-leaning power chords reminiscent of  PJ Harvey. Howell promptly followed that up with “Less,” a single that not only continued her ongoing collaboration with singer/songwriter and producer Bill Ryder-Jones but was rooted around a forceful 90s alt rock-leaning song structure, while further cementing her growing reputation for writing unflinchingly honest and vulnerable lyrics.

Howell’s latest single “Desire” was produced by Chris Sorem and mixed by CJ Marks, both of whom have worked with Wolf Alice, PJ Harvey and St. Vincent — and while continuing along a similar vein sonically, as it nods at the blues and 90s alt rock, complete with an anthemic hook, the song manages to possess an urgent yearning, punctuated with the use of a baritone electric guitar.  As Howell explains in press notes, “‘Desire’ is about lust, our need for instant gratification, about desire’s addictive qualities and how they can make us behave.  I was inspired both by the way people have treated me and how I’ve treated others and how I’ve become unrecognisable to myself in the past just to appeal to this side of someone else’s personality.”

Directed by Furball Films’ Rhys Davies and starring Jade Perraton and Kyle Telford, the video features its two actors covered in syrup in a slow dance that vacillates between lustful desire and physical need — but while having a weird push and pull between regret and uncertainty. As the Howell explains in press notes, the video’s concept was inspired “by the symbolism of certain scenes in the movie Under the Skin, where the alien’s victims walk of their own free will into a thick, dark oil and to their demise. When writing the line ‘smother everything,’ I was actually imagining these temptations as a kind of veil that can leave us blind to what’s right and stuck in a cycle,” the Welsh-born, London-based singer/songwriter and guitarist continues. “We’re drawn to sugar coated things that are underneath bad for us. It’s about desires as things or people we want and can’t often resist, despite knowing that they will bring us nothing but regret.” 

New Video: The Psychedelic and Lynchian-like Visuals for Norma’s “S.A.D.”

Largely inspired by NEU! and Faust, as well as Spiritualized and Spacemen 3, the Stockholm, Sweden-based trio Norma, comprised Erik Vallin, Love Martinsen, and Petter Bendelin formed in a living room in 2007, watching David Lynch movies while experimenting with pedal steel guitars, vintage organs and synthesizers. As the story goes, after a while, the trio started rehearsing in a bomb shelter and eventually developed a bigger, heavier sound, which wound up on their debut effort Book of Norma. Several years later, the band followed that up with their 2013 sophomore effort, The Invisible Mother. Over the past few years, they’ve developed a reputation for being deliberate — and over a decade since their formation, the band will be releasing their third, full-length album sometime in 2018. 

“S.A.D,” the yet-untitled album’s first single features a prerequisite, chugging motorik groove paired with shimmering, pedal effected guitars and a soaring hook to create a song that reminds me quite a bit of Join the Dots-era TOY — but interestingly enough, the song is both about seasonal affective disorder and a character that the band has dubbed Neil, a figure that appears during the darkest season, and attempts to thwart you as you go about your daily life. As the band explains, “. . . We probably all have our personal devils, wherever we want them or not, it’s just about learning how to live with them. It may be quite difficult to get a daily life working as it is and it will not be easier to discuss economics, logistics or food when Neil creeps along your spine and says he’s going to shoot you in your leg.”

Edited by Frederick Stewart Holm and featuring photography by the band and Najda von Bahr with scenography, costumes and makeup by Emila Esping, the recently recently video for “S.A.D.” follows Neil, a vagabond-like character as he travels the countryside in a custom built jalopy to the kindergarten where he entertains kids as a clown/entertainer. Eventually, he disappears into a dream where he floats among planets, fishes and laser lights in a Lynchian and psychedelic nightmare.