Tag: New Video

New Video: Staten Island’s Elaine Kristal Teams up with Produkt and Herve Alexandre on an Earnest and Soulful new Bop

Elaine Kristal is an emerging Staten Island-born and-based singer/songwriter, who can trace the origins of her music career to her childhood: a young music-loving Elaine Kristal took part in school plays at her elementary school — and she sung in the hallways of her school, wearing a bandana and hoop earrings, inspired by Alicia Keys.

She started performing her own music with one of her best friends, Mikey Fuego at a local open mic. The young, Staten Island-born and-based singer/songwriter quickly began to realize that people were coming to see her perform — and were learning the lyrics to her songs. When the entire place started singing along, Kristal realized she needed to seriously pursue music. “It’s a high I will never forget, and one I want to have for the rest of my life,” she says.

Last year, R&B singer Tank launched the “Can We Talk Challenge” on Tik Tok. The challenge required participants to sing the hook to Tevin Campbell‘s 1993 hit single. Kristal, refused to sit on the sidelines, knowing she could contribute to the challenge while making one of her favorite vocalists proud. Her contribution quickly amassed over 40,000 views with the video being favorited over 400 times.

Naturally, the Staten Island-born and-based vocalist was ecstatic by the positive response she received. Then a Tik Tok user questioned the young, emerging artist’s talent and ability in the comments. She responded swiftly, singing the hook to “Can We Talk” a cappella while pounding her fist on a stage platform. “When I saw the comment my first reaction was “Oh word”, he really went there?” explained Elaine. “I take this VERY serious and my pride couldn’t let it go so I just walked over to this stage located in the studio complex I record in and just started pounding my fist while I sang a cappella.” Kristal continues, “Here I am with limited hours in a day trying to divide my time between recording new music, promoting recently released tracks, and preparing for the release of my new new single ‘Nasty In The Morning’ and now I’m replying to thousands of comments on my page.”

In the past year, the #CanWeTalkChallenge has become a viral sensation with thousands of entries across the world and over 20 million views of the hashtag. The Staten Island-based artist has 250,000 of those views, with over 3,000 comments, 48,000 likes — and has seen a 500% growth in followers on the platform. In fact, she’s in the Top 10 of the challenge, alongside X Factor USA season one winner Melanie Amaro and rapper Joyner Lucas while surpassing established artists like Lil Mama, Anthony Hamilton, 112‘s Q and Bobby Valentino. “2021 was hard for so many people including myself, but there were also many developments that made it tough to see last year end” Kristal says.

Elaine Kristal hopes to build upon the momentum of the #CanWeTalkChallenge. Her latest single “Love Over Living” is a slickly produced, radio and club friendly bop that features a soulful saxophone by Herve Alexandre, looping acoustic guitar and skittering, tweeter and woofer rocking trap beats. The Staten Island-based artist’s easy-going vocals effortlessly glide over a production that nods at Mary J. Blige and Alicia Keys-like hip-hop soul, contemporary pop and trap. Interestingly, underneath the contemporary production is a sweet, old-school love song in which the narrator expresses the age old “us against the world, baby” sentiment. Local emcee and labelmate Produkt contributes a couple of lovestruck verses describes how he feels about his “round-the-way girl,” who keeps it real — and is ride or die. It’s honestly, the sort of earnest love song that you don’t hear that you don’t hear too often these days.

As the emerging artist explains the song offers a simple yet profound message of how the power of love can get us through the darkest moments of our lives.

The recently released video for “Love Over Living” portrays the young Staten Island artist as a down-to-earth, round the way girl. We follow the two artists as they drive around town in a gorgeous, turquoise speedster — notably on the Brooklyn-Queens Expressway, the FDR Drive and the West Side Highway. We also see them stop by a neighborhood bodega.

New Video: Jenny Stevens and The Empty Mirrors Share a Trippy and Nostalgia-Inducing Visual for “No, I Wouldn’t Call It Love”

Jenny Stevens, a.k.a. The Ukelele Girl is a Welsh-born, Finnish-based singer/songwriter and musician, and the creative mastermind behind Jenny Stevens and The Empty Mirrors, a songwriting project that finds the Welsh-born, Finnish-based artist pairing dark alt-pop with quirky visuals.

Last year, Stevens released the The Distance Between Us EP, an effort that featured “The River Rolls On,” which paired Stevens’ yearning vocals with a slow-burning and atmospheric arrangement that seemed indebted to Siouxsie and the BansheesThe Cure, Cocteau Twins.

The Welsh-born, Finnish-based artist begins 2022 with the more uptempo “No, I Wouldn’t Call It Love.” Centered around glistening synths and shimmering, reverb-drenched guitars, “No, I Wouldn’t Call It Love” features a decidedly 4AD Records-like sound paired with Stevens’ achingly yearning vocals singing lyrics about a perfect moment through the lens of nostalgia and longing.

The recently released video emphasizes the longing and nostalgia at the core of the song: The video focuses on the passing of time, the changing of the seasons, and the song narrator’s loneliness and regret.

New Video: Montreal’s Thaïs Shares a Trippy and Cinematic Visual for “Arrête de danser”

Thaïs is an emerging Montreal-based singer/songwriter, who specializes in an atmospheric and delicate pop centered around the French Canadian singer/songwriter’s ethereal vocals. Thematically her work focuses on melancholy, loneliness and dysfunctional and confusing love.

Last year, the French Canadian artist released the Paradis Artificiels EP, which featured “Boreal,” a track inspired by a trip she took to Iceland that evoked the awe-inspiring sense of being in a gorgeous, natural beauty and taking it all in deeply — and “Sushi Solitude,” an atmospheric and delicate bit of synth pop that brought Washed Out to mind.

Since the release of Paradis Artificiels, the emerging Montreal-based artist signed to Bravo Musique, who released Thaïs’ latest single, “Arrête de danser.” Continuing a run of slickly produced pop centered around glistening and atmospheric synth arpeggios and traplike beats, “Arrête de danser” sees the French Canadian artist seamlessly meshing electro pop and trap; in fact, the song alternating between a syncopated trap-inspired flow for the verses and her ethereal cooing for the song’s hook.

While being club friendly, the song is actually a bitter tell-off to an unhealthy and dysfunctional lover that the song’s narrator knows is wrong for her and yet, she can’t quite get over. Despite her relative youth, the rising Montreal-based artist captures the push-and-pull of fucked up relationships with fucked up people.

Directed by Bobby Leon, the recently released, cinematically shot video for “Arrête de danser” follows an incredibly fashionable Thaïs as she goes to a local mall complex, where she’s haunted by memories of this lover at almost every turn, including a movie theater, that shows a movie that’s suspiciously close to her own life.

Lyric Video: Maggie Gently Shares Anthemic and Earnest “Worried”

Maggie Gently is a San Francisco-based singer/songwriter and queer woman, whose identity is very important to her and to the community she creates and participates in. And with the release of her debut EP, 2020’s Good Cry and singles like “Where My Time Went” and “Bitter Pills,” Gently’s work explored heartbreak, attempts at healing, learning things the hard way, establishing boundaries and protecting your heart. Sonically, her work is generally inspired by Snail Mail, Lala Lala, Tancred and Clairo, as well as Meg Hayertz’s “Make It Mean It” tarot-focused. guided meditations, lesbian romance novels and the Enneagram of Personality. As a result, her work is often melody-driven and heartfelt.

The San Francisco-based artist’s full-length debut, the Eva Treadway-produced Peppermint is slated for a March 18, 2022 release through Refresh Records. Recorded at San Francisco’s El Studio the album features a backing band that includes Treadway (lead guitar), Gently’s brother Joey Grabmeier (drums) and Sinclair Riley (bass). Peppermint‘s nine songs focus on the personal yet deeply universal questions of commitment and love, the terrifying possibility of being vulnerable and known, and ultimately trusting something enough to let yourself get swept away in it.

Peppermint‘s latest single “Worried” is an anthemic bit of 90s alt rock-inspired pop featuring chugging guitars and thunderous drumming paired with earnest and lived-in songwriting, Gently’s plaintive vocals and an enormous, sing-along worthy hook. The song is written from the perspective of an uneasy and anxious person desperately trying to hold on to the things and people who she believes she can’t afford to lose.

Peppermint‘s latest single “Worried” is an anthemic bit of 90s alt rock-inspired pop featuring chugging guitars and thunderous drumming paired with earnest and lived-in songwriting, Gently’s plaintive vocals and an enormous, sing-along worthy hook. The song is written from the perspective of an uneasy and anxious person desperately trying to hold on to the things and people who she believes she can’t afford to lose; but ironically she may lose anyway.

The lyric video follows the rising San Francisco-based artist on what may arguably be the longest Uber ride ever taken.

New Video: Basement Revolver Shares Cathartic “Circles”

Formed back in 2016, Hamilton, Ontario-based dreamgaze outfit Basement Revolver — currently, Nimal Agalawatte (bass, keys), Chrisy Hurn (vocals, guitar), Jonathan Malström (guitar) and Levi Kertesz (drums) — can trace their origins back quite a bit earlier, to the longtime friendship between Hurn-Morrison and Agalawatte.

The band hit the ground running with the 2016 release of breakout single “Johnny Pt. 2,” which led to the band signing to British label Fear of Missing Out and later, Canadian label Sonic Unyon Records. The Canadian dreamgazers closed out that year with their self-titled EP. Over the next couple of years, Basement Revolver were remarkably prolific with the release of 2017’s Agatha EP, 2018’s full-length debut Heavy Eyes and 2019’s Wax and Digital EP. The band supported their recorded output with touring across Ontario, the States, the UK, and Germany.

2020 was a tumultuous year for much of the world — and unsurprisingly, it was tumultuous year for the Canadian quartet: They had written and recorded a bunch of songs. They had gone through a lineup change in which one member left and was replaced by another. But because of the pandemic and pandemic-related restrictions, they couldn’t rehearse or record in the way they had been long accustomed. And of course touring was completely off the table for much of 2020 and 2021.

The gap between their work and being alone, naturally resulted in serious introspection for the members of the band — including a reconsideration of who and what the band was. According to the band’s Agalawatte, the band had planned on making their sophomore album last year. But they wound up waiting and working out what to do, eventually making changes to what they had written. “The world was shifting around us – and there was some global trauma – with that, we decided we wanted to fully express ourselves. So far we had kind of held off sharing political views, but we were realizing that our silence was actually just violence. We realized that to be who we are fully and authentically, we needed to share our voice.”

For the band’s members, they felt the need to share things in public, that they had long held private: Agalawatte came out. Hurn came out. According to Hurn-Morrison, the pair came out against what she describes as homophobic and transphobic environments, much like Redeemer University, a private Calvinist university, which has been the birthplace of countless local acts.

Back in 2020, Redeemer University announced a policy that would discipline students for any sexual behavior outside heterosexual marriage. “While we were in the studio, the CBC released an article about Redeemer University, and their homophobic and transphobic policies. I realized then and there, I had to come out. I had to share my experience with being bi,” Hurn-Morrison explains.

Basment Revolver’s sophomore album Embody is slated for a February 18, 2022 release through Sonic Unyon Records. Thematically, the album sees the band wrestling with questions of identity, sexuality, faith and mental illness in an explicit, honest, and self-aware fashion. Sonically, the album’s material reveals a much deeper sound paired with a crisper production. And while arguably being the most personal album of their growing catalog to date, the album’s material is rooted in hope and hopeful waiting — to physically be with your friends, to tour and to engage with the world with this newfound understanding of yourself and your place within the world.

Embody‘s fourth and latest single “Circles” is a slow-burning and expansive bit of shoegazy dream pop featuring swirling layers of shimmering and reverb-drenched guitars, atmospheric synths, Hurn’s achingly plaintive vocals and a driving rhythm section. And while sonically bearing a resemblance to A Storm in Heaven era The Verve and The Sundays, “Circles” is a deeply personal song in which it’s narrator openly struggles in the aftermath of being raped, and — sadly — informed by Hurn-Morrison’s personal experiences.

According to Chrisy Hurn, the song captures the feeling of “trying to do everything in your power to get better, but there is just that one thing that it always comes back to — knowing that it is a slow and long journey.

“As much as it is about this heavy, shitty thing that happened, I feel resilient. I feel a little bit stronger every time I hear it — a little bit more like I can stop hiding parts of myself.” Of course, while being cathartic for the band’s Hurn, she has the hope that it will help listeners, who may be going through similar experiences.

The recently released video is split between symbolic imagery of Hurn struggling with depression and anxiety — and seemingly gathering the courage to perform such a devastatingly honest song with her bandmates. The video’s color palette capture the brooding and serious nature of the song.

New Video: the bird and the bee Share a Gorgeous, Animated Visual for Expansive “Lifetimes”

Acclaimed Los Angeles-based indie pop act the bird and the bee — singer/songwriter Inara George and eight-time Grammy Award-winning producer and multi-instrumentalist Greg Kurstin — can trace their origins back to when they met while working on George’s 2005 solo debut All Rise.

Bonding over a mutual love of 80s pop and rock, the duo decided to continue collaborating together in a jazz-influenced electro pop-leaning project. With the release of 2006’s Again and Again and Again and Again EP and 2007’s self-titled, full-length debut, George and Kurstin quickly established a reputation for crafting pop songs with a breezy elegance.

Since the debut album, the bird and the bee have released three albums, as well as two volumes in their Interpreting the Masters series, in which they re-arranged and re-imagined the music of Hall & Oates and Van Halen in their playful and breezy style.

2020’s Christmas album Put Up the Lights was written and recorded remotely as a result of the COVID-19 pandemic. “Lifetimes,” is the first bit of new material since the release Put Up the Lights — and interestingly enough the song marks two big occasions for the the duo:

  • the first time they were able to work together at Kurstin’s Hollywood-based No Expectations Studio in years
  • and the duo celebrating the 15th anniversary of their self-titled debut, released through Blue Note Records

“It was really nice to be back in each other’s company and working on music together. No matter who you are, there’s always something unique that happens when you are able to collaborate with someone in the same space,” the bird and bee’s Inara George says in press notes. “Since the beginning of the bird and the bee, Greg and I have always had a very easy and fun time collaborating. I think it’s what keeps us playing music together. We have a kind of unspoken understanding and such a creative ease. Being back together inspired this song about our first musical collaboration.”

“Lifetimes” is centered around an expansive and elegant arrangement that starts with angular post-punk guitar that slowly builds up to include blown out beats, twinkling keys, fluttering synths, a dreamy Bossa nova and jazz-like bridge, and an anthemic coda. While telling the tale of the duo’s first collaboration together, the song is also a meditation on the passing of time, and a celebration of a deep and abiding friendship rooted in an unusual understanding of the other.

Directed by Simona Mehandzhieva and Norbert Garab, the recently released animated video for “Lifetimes” follows the song’s story as a swooning platonic love story and a sort of Vulcan mind-meld between two very different yet oddly similar people.

New Video: Stimmerman Shares a Trippy and Unsettling Visual for New Ripper “Geek”

Eva Lawitts is a New York-based singer/songwriter, multi-instrumentalist, producer, grizzled local scene veteran and JOVM mainstay: Lawitts began her varied and interesting career with a 14 year run with local, prog rock shredders Sister Helen. She has simultaneously developed a reputation as a go-to session and touring musician, working with Vagabon, and Princess Nokia.

Lawitts also co-runs Brooklyn-based recording studio, Wonderpark Studios, where she’s a producer and engineer. Adding to a busy schedule, the Brooklyn-based singer/songwriter, multi-instrumentalist and producer played bass on Oceanator‘s Things I Never Said.

Her recording project Stimmerman — which is simultaneously a band and a solo project — was founded back in 2017 after her previous band Sister Helen split up. “I wanted a project that was all mine and so I picked a family name long-changed for the purposes of assimilating into American Society (what a concept)- Stimmerman,” Lawitts explains in press notes.

Lawitts’ Stimmerman debut, 2019’s Goofballs was ” . . . more or less about loss and survivor’s guilt: it’s a meditation on a friend’s fatal overdose at a young age through that lens.” And if you were following JOVM back then, you might recall that Goofballs featured the Bleach-era Nirvana meets PJ Harvey-like “It Shows” and the expansive math rock meets shoegaze meets acid rock-like “Dentist vs. Pharmacist.

“Geek” is the first bit of original material from Lawitts since Goofballs. Clocking in at about 65 seconds, the new Stimmernan single manages to simultaneously be an expansive and yet breakneck ripper, featuring grungy power chords, thunderous drumming and fluttering synths and feedback paried with Stimmerman’s surrealistic yet visceral lyrics.

Directed and animated by Elenor Kopka, the recently released video features a series of amoeba-like humanoid faces that morph, bend, and melt throughout the video. Interestingly, each face seems marked by some unspoken fear or worry.

“Geek” will appear on Stimmerman’s sophomore album, which is slated for release later this year.

New Video: Lucky Lo Releases a Swooning and Euphoric Anthem to Queer Love

Lo Ersare is a Umeå, Sweden-born, Copenhagen-based singer/songwriter, musician, and the creative mastermind behind the emerging indie pop project Lucky Lo. Ersare relocated to Copenhagen in 2014 and quickly made a name for herself as a busker and as an integral part of the city’s underground music scene, performing everything from folk to experimental jazz to improvisational vocal music. Along the way, her love for Japan and its music brought her to the island nation, where she has performed, grown a devoted fanbase and gathered inspiration, which has seeped into her music in various ways.

Ersare’s full-length debut, Supercarry is slated for a March 25, 2022 release through Tambourhinoceros Records. The album will feature previously released single “Heart Rhythm Synchronize,” which was about synching heartbreaks through love and song and album title track “Supercarry,” a sleek and seamless synthesis of Annie Lennox and Peter Gabriel, that thematically finds Ersare quickly establishing a major thematic concern in her work — the transformational power of radical love.

Supercarry’s latest single, “Ever” is a swooning and infectiously optimistic pop song centered around glistening synth arpeggios, a strutting disco-inspired bass line, shimmering and reverb-drenched guitars, a rousingly anthemic hook and Ersare’s plaintive pop belter vocals. Arguably, the most dance floor friendly of the album’s released singles, “Ever!” brings Talking Heads, and Annie Lennox to mind paired with the euphoria of Sylvester‘s queer anthem “You Make Me Feel (Mighty Real).

Lyrically, the song’s narrator has found a way to transform the hardships of living in a cruel and judgmental world that won’t allow them to be themselves into a deep, sustaining hope and confidence; the sort of quiet confidence to be self-assured in whatever your truth may be. As Ersare explains the song is an anthem for queer love.

The inspiration for the song began deep inside a YouTube rabbit hole. Ersara was binging on Freddie Mercury videos one night. That eventually lead to her researching the AIDS epidemic of the 80s, and the blacklash of homophobia the gay community felt back then.

She came across a video of a gay man, who bravely announced to a reporter that no amount of homophobia could keep gay people from loving each other that struck her as timeless. Since the dawn of society, gay people have been — and will keep on — loving in secret, despite antagonism, until the world eventually accepts them.

This video resonated with the Umeå-born, Copenhagen-based artist, who was then inspired to make a song for “anybody, who feels they are living a truth in secret can listen to, dance to, and feel that they will be accepted. By repeating the motion, it’s going to change the world,” she says.

Animated by Isabelle Friberg, the recently released video is a life affirming love song: We follow the video’s protagonists, who have a meet cute at local bowling alley and fall madly in love. They represent the love that man in the 80s video clip talked about. And while we get a glimpse into their lives and their love, we see Ersare and her band performing the song, while looking like characters straight out of Jem. The video manages to be brightly colored, overwhelmingly positive and a sweet visual that emphasizes the song’s swooning euphoria.

New Video: Preservation Hall Jazz Band’s Charlie Gabriel to Release Debut Album As Bandleader, Shares Intimate, Behind-The-Scenes Visual for “I’m Confessin'”

88 year-old Charlie Gabriel is a New Orleans-born and-based saxophonist, clarinetist and vocalist, who has had an incredibly lengthy music career: Gabriel’s first professional gig was back in 1943, sitting in for his father in New Orleans’ Eureka Brass Band. As a teenager, he relocated to Detroit, where he played with Lionel Hampton, whose band at the time included a young Charles Mingus. Gabriel then spent nine years with a group led by Cab Calloway drummer J.C. Heard.

For a period of time, Gabriel fronted a bebop group. He has also played with or toured with Ella Fitzgerald, Tony Bennett, Aretha Franklin and a lengthy list of others before joining the legendary New Orleans jazz ensemble Preservation Hall Jazz Band in 2006. Since then, Gabriel, the most senior member of the group has developed a tight musical relationship with creative director, bassist and tuba player, Ben Jaffe, the son of the group’s co-founders Allan and Sandra Jaffe.

Gabriel signed to Sub Pop Records, who will be releasing the jazz legend’s full-length debut as a bandleader 89, which is slated for digital release on February 25, 2022 and a July 1, 2022 physical copy — CD/LP, etc. — release, a few days before his 89th birthday.

Although he’s faced plenty of challenges over the course of his almost eight decade music career, none likely rank with the death of his brother and last living sibling Leonard to COVID-19. For the first time ever, Gabriel put down his horn, filling his days and weeks instead with dark reflection, a stubborn yet understandable despondency broken now and then by regular chess matches in the studio kitchen of Pres Hall leader Ben Jaffe, who was working overtime to bring his friend and bandmate some light.

One of those afternoons also included guitarist Joshua Starkman, who was sitting off in a corner playing his guitar and half-watching Jaffe and Gabriel play chess from a distance. When Charlie returned the next day, he brought his saxophone. “I was just inspired to try it, to play again. It had been a long time, and a guitar makes me feel free. I do love the sound of a piano, but it takes up a lot of a space, keeps me kind of boxed in.”

“We had no particular plan, or any particular insight on what we were gonna do. But we were enjoying what we were doing, jamming, having a musical conversation,” Gabriel adds, further musing, “Musical conversations cancel out complications.”

Interestingly, that day wound up being the first session for 89, almost entirely the work of Gabriel, Jaffe and Starkman, recorded mostly in the kitchen by Matt Aguiluz. Charlie Gabriel plays tenor sax and clarinet on the album, Starkman plays guitar and Jaffe plays bass, drums and keys throughout the album.

The album’s material includes six standards, including “Stardust,” “I’m Confessin'” and “Three Little Words,” which the New Orleans legend describes as “standard material that every musician, if they’re an older musician like myself, will have played throughout their career. Every time I play one of these tunes the interpretation is a little bit different.” The album also includes two originals written by Gabriel, “Yellow Moon” and “The Darker It Gets” — and while being Gabriel’s debut, it also marks a return to his first instrument, clarinet on many of the album’s tracks. “The clarinet is the mother of the saxophone,” he says. “I started playing clarinet early in life, and this [taught me] the saxophone.” 

89‘s first single sees Gabriel and his bandmates play a gorgeous and utterly charming rendition of the old standard “I’m Confessin.'” Centered around a subtle re-arrangement for jazz guitar, clarinet, saxophone and bass, Gabriel’s version to my ears manages to meet Peggy Lee and Louis Armstrong somewhere in the middle, while being roomy enough for Gabriel’s vocals, which balance a wizened raspiness with an sweet tenderness. Simply put, it’s the sort of vulnerable and endearingly honest love song that we just don’t get anymore — and that’s just one why I love it so much.

Directed by Alex Hennen Payne, the recently released video for “I’m Confessin'” is shot in a gorgeous and cinematic black and white and captures the 89 sessions with a warm and loving intimacy.

New Video: Calgary’s Sunglaciers Release A Feverish Visual for Breakneck Ripper “Avoidance”

Calgary-based post-punk outfit Sunglaciers can trace its origins back to 2017 as a collaboration between its founding — and core — members: multi-instrumentalist Matthieu Blanchard and lead vocalist and multi-instrumentalist Evan Resnik. When they started the project, Blanchard had completed his studies in medicine, working in family medicine and addition and Resnik had returned from a trip hitchhiking through France. Since the project’s formation, the Calgary-based act has released a couple of EPs and their full-length debut, 2019’s Foreign Bodies, which saw them crafting a sound that blurred the lines between dazzling indie rock melodicism and icy, post-punk experimentation, centered around a maximalist approach.

During that same five year period, the members of the Canadian post-punk outfit have seen a steadily rising profile, as they’ve shared stages with the likes of JOVM mainstays Preoccupations, Omni and Daniel Romano while topping the charts of college radio stations across Western Canada. Understandably, when the pandemic put their touring plans on a then-indefinite pause, the band quickly shifted their focus to writing material, dedicating 40-plus hour weeks to music during the early months of 2020.

Those writing sessions wound up becoming the Calgary-based outfit’s sophomore album Subterranea, slated for a March 25, 2022 release through Montreal-based psychedelic purveyors Mothland. Continuing an ongoing collaboration with Chad VanGaalen, who co-produced the album, Subterranea reportedly sees the band eschewing the maximalist approach of their previous releases and crafting material with a decided laser focus. The end result is a frenetic, breakneck album of material with songs that never overstay their welcome. “We tried to write vertically instead of horizontally,” Sunglaciers’ Matthieu Blanchard explains. “Our last album Foreign Bodies and the EPs that came before it had lots of long songs with different parts drifting back and forth. For this album, we decided to strip our songs down to two or three minutes with only a few ideas in each of them.”

“The bulk of this album came together during the pandemic and the changing of gears that we had to do,” Sunglaciers’ Evan Resnik says. “I was out of work and Mathieu was working half as much as usual, so we had lots of time on our hands. We flipped a switch and started playing music everyday. It’s a good indicator of how we were writing at the time while we wrapped our heads around some new gear and saw what came out of it. Essentially, we took all of our favourite musical tendencies and put them together. We were listening to a lot of McCartney II at the time and loved how eclectic it was, which led to us mirroring that vibe.”

With an extended timeframe to write and record, the album, which was recorded at Bruce Crews’ voiceover studio On Air Studios allowed the members the opportunity to learn skills in engineering and for the opportunity to swap the instruments that each member typically played, a strategy that was employed during the writing and recording of Portishead‘s Third and David Bowie‘s “Boys Keep Swinging.” The album also features contributions from the aforementioned Chad VanGaalen, Hermitess‘ Jennifer Crighton and Roman66′s Louis Cza The Black Greek God. The end result may arguably be Sunglaciers most urgent and cohesive batch of material, an effort that draws from the likes of Deerhunter, Total Control, and BEAK> among others,.

Subterranea‘s latest single is “Avoidance,” a woozy and uneasy ripper full of guilt and recrimination delivered with a breakneck freneticism and featuring a nagging and persistent synth line-driven groove, angular guitar attack, driving four-on-the-four, dryly delivered vocals and screams by Louis Cza. Sounding a bit like JOVM mainstays Plague Vendor and Atsuko Chiba, “Avoidance” lyrically touches upon themes of alienation, abandonment and guilt in a way that should feel familiar to most of us during this unusual moment of our lives.

Directed by the band’s Evan Resnik and Ryan Kostel, the video is a paranoid and uneasy fever dream in which the video’s protagonist is tormented by figures that he thinks are his friends — but prove to be in his own head.

“The video depicts a nightmare scenario with the protagonist in a panic as he is tormented by figures he thought were his friends, ultimately coming face-to-face with himself,” Sunglaciers’ Evan Resnik explains. “The fogged-out rooms, varied lighting, and overlaid shots pull the viewer inside this dreamscape and accentuate the anxiety and trepidation we explore in the song.”

“When filming ‘Avoidance’ I really wanted to mimic the anxious, unsettled mind,” Ryan Kostel adds. “Constantly shifting angles, I used long fluid shots and shifts in time to create an unbalanced sensation. Rapid fluctuations of light and color layered over kinetic and sometimes violent imagery help to convey the subject’s mental unease.”