Tag: New Video

New Video: Rapidly Rising Afro Pop Act ONIPA Releases a Vibrant Visual for Club Banging Single “Makoma”

Deriving their name from the Akan word for “human,” the London-based Afro pop/dance pop act ONIPA features an All-Star cast of collaborators that includes the act’s core duo, longtime friends, Kweku of Ghana’s and KOG and the Zongo Brigade’s KOG (vocals. balafon and percussion) and Nubiyan Twist’s Tom Excell (guitar, production, electronics) with Wonky Logic’s Dwayne Kilvington synths and MPC) and Nubiyan Twist’s Finn Booth (drums) joining the band for live shows. The act views its work as a message of connection through high energy and deep, dance floor friendly grooves. 

Following an attention-grabbing set at this year’s Felabration at Amsterdam’s Paradiso alongside Pat Thomas and Dele Sosimi, the rapidly rising London-based Afro pop act is gearing up for what may arguably be a momentous 2020: their full-length debut is slated for release next year through Strut Records and they’ll be supporting the album with an extensive tour across the UK and European Union during the Spring and Summer. 

“Makoma,” the full-length album’s first single is a buoyant and vibrant club banger centered around looping and shimmering guitars, stuttering polyrhythm, tweeter and woofer rocking beats, call and response vocals and a raucous, crowd pleasing hook. Mischievously nodding at soca, the Pan African song features lyrics sung in Twi and Sisaala while sonically being indebted to the sounds of The Democratic Republic of the Congo, as well as Ghana — primarily soukous, but with a slick, modern production. 

The recently released video for “Makoma” features a collection of beautiful African people within a vibrant color palette riding bicycles across the African countryside for a bit, before stopping to sing and dance along to the song, The video captures the simple and profound joy of being with your friends and enjoying your favorite song, 

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New Video: Genre-Defying French Artist MHUD Releases a Bloody Commentary on Violence and Toxic Masculinity

Initially beginning his creative career as a painter, the mysterious Strasbourg-born, Paris-based singer/songwriter, multi-instrumentalist, electronic music artist and electronic music producer MHUD got into music as a creative outlet relatively recently. And in short period of time, the Strasbourg-born, Paris-based artist has developed a reputation for material that thematically focuses on man’s spiritual, emotional and intellectual split from himself — paired with a sound that’s genre defying. 

The mysterious Strasbourg-born, Paris-based artist’s full-length debut is slated for a March 2020 release, and the album’s latest single “Cheval de Bataille” is a slickly produced track that possesses elements of trip hop, electroclash, electro pop and arena rock as its centered around tweeter and woofer rocking beats, buzzing, distortion pedal-fueled guitar lines, a motorik-like groove, expressive blasts of horn and arpeggiated synths. Sonically speaking, the song — to my ears, at least — reminds me a bit of synthesis of fellow countrymen Black Strobe, Dystopico-era Kriget, Third-era Portishead, Evil Heat-era Primal Scream and The Deltahorse.  

Produced by David Garnacho and Nicolas Bouf, the recently released video for “Cheval de Bataille” follows the violent fantasies of a nerdy and relentlessly bullied office drone, who gets his revenge at a team-building paintball game. In the face of psychological violence in relation to economic and societal pressures, some people feel as though the only response they have is to respond with physical violence, the Strasbourg-born, Paris-based artist says of the video treatment. The directors and the artist went with a hyper realistic take on violence — so that the impact it has on people can’t be trivialized or glorified. But on another level. it points out how toxic masculinity can lead to increasing amounts of brutal and senseless violence. 

New Video: London’s Genghar Releases a Dance Floor Friendly Single

Deriving their name from Gengar, one of the original Pokemon, the acclaimed London-based Gengahr, comprised of Felix Bushe, John Victor, Hugh Schulte and Danny Ward can trace their origins to when its members met at the Stoke Newington School. Their debut single “Fill My Gums With Blood” caught the attention ofBBC Radio 1’s Huw Stephens — and building upon a rapidly growing profile, the band wound up playing at the BBC Introducing Stage at 2014’s Glastonbury Festival.

Since then the band has released two critically applauded albums — 2015’s debut effort A Dream Outside and 2018’s Where Wildness Grows. The band’s highly-anticipated, third full-length album Sanctuary is slated for a January 31, 2020 release through Liberator Music. Produced by the band’s old friend, Bombay Bicycle Club’s Jack Steadman, the album reportedly finds the band ambitiously pushing their sound in a decidedly pop leaning direction while recapturing the magic and vibe the quartet felt while writing and recording their debut effort. Influenced by Homer’s Odyssey, the album’s material finds the band’s primary songwriter Felix Bushe tapping into personal pain — but while coming out throwing punches and fighting.

Interestingly, the album’s latest single “Heavenly Maybe” is a slinky and shimmering pop song centered around Nile Rodgers-like guitar, a sinuous bass line, a funky, disco-like groove, four-on-the-floor drumming, Bushe’s achingly plaintive vocals and an infectious radio friendly hook. And while being a slickly produced club banger, the song is imbued with a world weary ennui, as Bushe’s narrator details the experience of partying as a way of distracting him from his serious, real life problems. 

Directed by David East, the video follows a lonely man who heads out to a club to catch a band and to dance his problems away — but it seems only temporary. “‘Heavenly Maybe’ is the second part of a two-part video we made with David East in Berlin earlier this year. Across the two, we wanted to create something which captured the thematic essence of the album as a whole whilst allowing each song its own fitting backdrop. The song itself is essentially about going out and trying to forget all of your troubles, and how ultimately problematic that is as a form of release.” 

New Video: Long Beach’s O ZORN! Releases a Sludgy, Mosh Pit Friendly Ripper

O ZORN! is a Long Beach, CA-based post-sludge trio led by Bill Kielty (vocals, guitar) and currently featuring Danny Walker (drums) and Billy Mud (guitar). Comprised of grizzled vets of Long Beach’s underground scene, the band formed in 2010. And since their formation, the trio have developed a reputation for a sound and songwriting approach that draws from and meshes elements of doom metal, sludge, hardcore and psych rock into a roaring and pummeling sound centered around enormous riffs and fiercely focused angst. 

The Long Beach-based post sludge act’s sophomore album Your Killer is slated for a March 6, 2020 release through Hard Drugs Records and the album, which was recorded at theFoo Fighters’ 606 Studio finds the band crafting the most boldly ambitious, focused and diverse material of their catalog to date. “Casket,” Your Killer’s first single is centered around enormous, power chord-driven riffs, relentless and thunderous drumming, mosh pit friendly hooks and Kielty’s anguished howls. And while bearing a resemblance to Screaming Life/Fopp EP and Badmotorfinger-era Soundgarden, Melvinsand others, the song as the band explains “depicts a story of a Marine that survives the Vietnam War against all odds, only to come home and his watch his wife battle cancer. In an ever changing World, now with fewer wars than ever before, the story of ‘Casket’ is a dark reminder that the ‘Rolling Death Machine’ of war is still a haunting memory for those on the battlefield and those at home fighting their own personal hell.” 

The recently released video employs an extremely DIY approach — footage of the band performing the song, shot on two iPhones and a GoPro, with a couple of strobe lights and a fog machine. 

New Video: Arbor Labor Union Releases a Hallucinogenic Animated Visual for “Flowerhead”

Atlanta-based indie rock act Arbor Labor Union, comprised of Bo Orr (vocals, guitar), Ben Salle (drums), Brain Atoms (guitar) and Ryan Evers (bass) features band members have long been members of — and have been influenced by — the ideology and ethos of DIY punk and hardcore, with their work drawing from cosmic country and cosmic Americana, Whitman, an appreciation towards nature and the working-class sympathies of Woody Guthrie. Or in the band’s words “CCR meets The Minute Men.”

Their sophomore album, 2016’s I Hear You was released through Sub Pop Records and building upon a growing profile, the Atlanta-based act toured with the likes of Dinosaur, Jr.,Outer Spaces, Gnarwhal and The Gotobeds among others. It’s been a while since I’ve personally heard from them or have written about them — but as it turns out, the band had been busy working on their highly-anticipated, third album New Petal Instants, which is slated for a February 7, 2019 through Arrowhawk Records. The forthcoming album’s first single is the shaggy and twangy “Flowerhead.” While featuring a buoyant and propulsive CCR meets Sun Records country-like groove, the jam-like track is centered around a loose and expansive song structure paired with mind-melting meditations on nature and cosmos. But unlike their most of their previously released material, “Flowerhead” is arguably the most danceable/boppable they’ve ever released. 

The recently released video for “Flowerhead” features stop motion-animation and collages by the band’s Bo Orr and edited stock footage — and while continuing the band’s long-held DIY ethos, the video is like the Grand Ole Opry on hallucinogens. 

New Video: Los Angeles’ The Know Releases a Hazy and Nostalgia Visual for Shimmering “143”

The Know,an up-and-coming Los Angeles-based dream pop/shoegaze act comprised of married duo Daniel Knowles and Jennifer Farmer, can trace they origins to late last year, when Knowles suggested to Farmer, that instead of traveling home for the holidays — the UK and Texas respectively — that they stay put in Los Angeles, and try to write music together, just to two of them. The material that they’d spend writing would be their gift to themselves. 

For the next few weeks, they isolated themselves in their home studio with no real plan — but they shared a mural love of Beach House, Julee Cruise, Ye Ye, The Jesus and Mary Chain, 60s girl groups, Patsy Cline and The National. The first bit of material they wrote together wound up being their latest single “143,” will appear on their forthcoming debut EP. Inspired by Tom Waits’ “(Looking for) The Heart of Saturday Night,” “143” finds the duo meshing the autobiographical with the fantastical, as the song focuses on a the hazy recollections of a night out. Sonically, the song is an atmospheric fever dream, centered around shimmering synths and guitars, Farmer’s ethereal crooning and a soaring hook. And while seemingly indebted to Beach House and 60s girl groups, the lush song is imbued with a hazy nostalgia and aching longing. 

Directed by the band’s Jennifer Farmer, the recently released video for “143” focuses on a wild night out through a series of hazy, seemingly drug and alcohol fueled recollections of a party and wandering through the neon-lit streets of Los Angeles with a group of friends before ending with a young couple cuddling while watching the sun rise over the city’s skyline. And although its set in Los Angeles, the video captures something intimately familiar — young people hanging out, goofing off and being carefree. 

New Video: Italian-French Electronic Artist Kaouenn Releases a Feverish and Psychedelic Visual for John Delive’s Remix of “Les Hiboux”

Initially starting his career in the early 2000s with stints in acts like Butcher Mind Collapse, Lebowski and Jesus Franco and The Drogas, the mysterious Italian-born, French-based multi-instrumentalist, singer/songwriter, producer and electronic music artist behind the acclaimed electronic music project started Kaouenn started the project in 2014. With the release of 2016’s critically applauded, eponymous debut, Kaouenn developed a unique take on electronic music that draws from psychedelia, post-punk, trip-hop, New Wave, exotica and the blues — and for a multi-sensory and hypnotic live show. 

Inspired by and adapted from Charles Baudelaire’s “The Owls,” a poem that the Italian-born, French-based artist says highlights the ambivalent nature of these animals, which are often viewed as ancient and mysterious idols that possess a wisdom that the average person does not have — while also being the symbol of darkness, album single “Les Hiboux,” is an industrial-leaning take on the blues. Centered around thumping beats, electronic bloops, bleeps and clicks, synth arpeggios and enormous power chords, the song — to my ears, at least — manages to recall Black Strobe’s “Boogie in Zero Gravity,” complete with a sophisticated yet sleazy air. Recently, John Delive, a rapidly rising producer, who made a name from himself in Rotterdam’s techno and trace scenes before relocating to Barcelona, recently remixed “Les Hiboux.” And while retaining, the bluesy power chords and industrial vibes, Delive gives the song a subtle yet propulsive house music sheen, which gives the song a club friendly air.  Directed by Fabio Cotichelli, the recently released video for the John Delive remix of “Les Hiboux” is a psychedelic fever dream set to a propulsive motorik-like groove. 

New Video: JOVM Mainstays Black Pumas Release an Intimate and Gorgeously Shot Visual for “Colors”

Over the course of this past year, I’ve spilled quite a bit of virtual ink covering the Grammy Award-nominated Austin, TX-based soul act, Black Pumas. And as you may recall, the JOVM mainstays released their self-titled, full-length debut earlier this year, and since its release the had has rapidly built up a national profile and following through a relentless touring schedule that has included three separate New York stops this year:   The Knitting Factory, back in May; Mercury Lounge, back in July; and Brooklyn Bowl in September. 

Album single “Colors” exploded nationally when a live version of the song amassed over 4 million YouTube views — and since then, the song has become the most added song to Adult Album Alternative (AAA) radio. None of that should be surprising as the song is a decidedly old school singer/songwriter soul-inspired track centered around a looping 12 bar blues guitar line, twinkling Rhodes, some gospel-like backing vocals and Burton’s incredibly soulful and expressive vocals, which manage to express hurt, yearning, pride and awe simultaneously. As Burton, Quesada and company explained to The Fader by email, “‘Colors’ was written while the sun was going down on a rooftop in New Mexico. Finding inspiration in the multicolored hues of the night sky. The song is a message of togetherness, but there’s awareness of mortality mixed in . . .”

Directed by Kristian Mercado, the recently released video for “Colors” is an intimate and profoundly empathetic look at a young and very beautiful Black family — mother, father and son — who hit hard times, and wind up homeless. It’s a heartbreaking and seemingly lived-in display of how easily and quickly one family can lose everything for no fault of their own but the main takeaway from the video is that while they’ve lost material things  and are struggling to survive, they have each other, their essential decency and their humanity.  

New Video: All Them Witches Releases a Hallucinogenic and Menacing Visual for “1X1”

I’m currently writing this at the bar/restaurant at the gorgeous Hotel Monville in downtown Montreal, Quebec, drinking coffee and having an amazing breakfast. (So far, the food I’ve had has been amazing — but more on that later because I haven’t had poutine yet.)  Now, if you’ve been frequenting this site over the past week or so, you’d recall that I’m in town for the M for Montreal Festival. I’ll be posting as much as I can — and if I’m bleary eyed and exhausted, so be it. I’ll sleep when I’m dead. 

So let’s get to the business at hand, right? 

After the release of last year’s critically applauded album ATW, the Nashville-based psych rock act All Them Witches went through a massive lineup change, which has resulted in the band’s most pared down lineup in their entire history — Charles Michael Parks, Jr (bass, vocals), Ben McLeod (guitar, vocals) and Robby Staebler (drums, vocals). And although it’s stereotypically expected for a bands with pared down lineups to release more restrained and even quieter work, All Them Witches’ latest standalone single, the self-produced “1X1” finds the band employing a muscular, prog rock-like leaning sound, complete with scorching guitars, thunderous drumming, distorted vocals and enormous arena rock friendly hooks.  Interestingly, the track may arguably be one of the heaviest of the band’s growing catalog.

Directed, filmed and edited by the band’s Robby Staebler, the recently released video for “1X1” features starring roles by the entire band and a cameo from Sons of Anarchy’s Drea de Matteo in a hallucinogenic and menacing occult world reminiscent of Soundgarden. 

New Video: Brisbane’s Confidence Man Releases an Occult Themed Visual for 90s House-Inspired “Does It Make You Feel Good?”

With the release of last year’s full-length debut, Confident Music for Confident People, which featured a handful of breakthrough singles, the Brisbane, Australia-based dance pop act Confidence Man — led by Janet Planet and Sugar Bones and featuring Clarence McGuffie and Reggie Goodchild — received attention nationally and internationally for a crowd-pleasing, club friendly sound seemingly inspired by Donna Summer, Giorgio Moroder and Deeee-Lite-era house music. 

Adding to a growing profile and busy summer, the rapidly rising Aussie dance pop played across the international festival circuit, including a stop at Glastonbury Festival — and amazingly earning an opening slot for the legendary New Order. Interestingly, Confidence Man’s latest single, the shimmering, club anthem “Does It Make You Feel Good” continues on the momentum of the past year. Centered around a slick production featuring  a thumping and propulsive beat, shimmering synth arpeggios, a sinuous bass line and a rousing hook, the song manages to be heavily indebted to late 80s and early 90s house and Club MTV-era MTV — i.e., Black Box, C+C Music Factory, the aforementioned Deeee-Lite and others. But instead of ascribing to soulless mimicry, the song reveals an act with a careful  and deliberate attention to craft. 

Directed by the Aussie dance pop act’s longtime visual collaborators Schall and Schanbel, the recently released visual is s striking fever dream that’s reminds me quite a bit of the work of Dario Argento — but with an extensive dance sequence in between the gore, ecstatic occult rituals and laser shooting boobies and cute animals.