Tag: New Video

Video by William Ruben Helms

New Video: A Place To Bury Strangers Share Woozy “Bad Idea”

New York-based JOVM mainstays A Place to Bury Strangers — currently Oliver Ackermann (vocals, guitar), John Fedowitz (bass) and Sandra Fedowitz (drums) — will be releasing their seventh album Synthesizer on October 4, 2024 through Dedstrange records. 

While Synthesizer is the album’s title, it’s also a physical entity, a synthesizer specifically made for the album — and a synthesizer that you too, can own (in part), if you buy the record on vinyl. The album’s cover art doubles as a circuit board and functional synth for curious and enterprising fans. “It’s pretty messed up, chaotic. But it feels really human,” the band’s Oliver Ackermann says. 

In an era of making music where so little is DIY and so much is left up to AI, never setting foot in a practice room or a home studio, making something that feels deliberately chaotic, messy, and human, is entirely the point. The album celebrates sounds that are spontaneous and natural, the kind of music that can only come from collaboration and community. 

The writing sessions for Synthesizer started in the band’s Queens studio, shortly after the release of 2022’s See Through You. The new lineup which featured Ackermann and his friends John and Sandra Fedowitz was especially inspiring for Ackermann. “It felt like a fresh new thing,” he says. “I wanted to write songs everyone was excited about playing.” 

The album captures the band at a place of reinvention, where they take a carefully honed sound and approach and crack it wide open to gut its then reimagine it. And of course, to ever so slightly reinvent one’s sound, one must also built a new instrument — the synthesizer at the core of the album’s overall sound. 

Reportedly, Synthesizer is arguably one of the band’s most live-sounding albums to date, accurately capturing the rawness and explosiveness of the band in a live setting, which is a fitting for a band that is best in a live setting, where the material takes on a new energy in the presence of a crowd. “We’re artists,” Ackermann says, “Going to shows and bringing that imperfect and beautiful DIY ethos is important.” 

Earlier this year, I wrote about album single “Disgust,” a classic bit of APTBS. Or in other words, an eardrum shattering aural assault, anchored around explosive wailing feedback and distortion pedaled guitar lines paired with a relentles motorik groove featuring an arpeggiated bass line weaving in and out. But there’s subtle refinements, including some of the most rousingly anthemic, mosh pit friendly choruses and hooks I’ve heard from the band in some time.

“‘Disgust’ is a song I wrote that was inspired by the way I used to perform ‘Got That Feeling,’ a song by my old band Skywave,” Ackermann explains. “There was a long riding open note on the bass that enabled me to play the whole part with my fist in the air.  I wrote this song just on open strings so it could be played with just one hand: dumb and fun.” 

Synthesizer‘s latest single “Bad Idea” is anchored around a simple yet hypnotically looping drum beat, woozily oscillating feedback-driven guitar lines. John Fedowitz’s plaintive yet punchy delivery weaves in and out of the stormy and soundscape, which helps to evoke the vacillating, almost nauseating unease of self-doubt.

“Bad Idea” showcases the raw creativity of the band’s bassist John Fedowitz. “He came to the studio with a simple looping drum beat, thinking he didn’t have any good ideas — thus, this song was his ‘bad idea,'” the band’s frontman Oliver Ackermann says. “We each penned some lines on paper, and he sang the ones that resonated. After a few instrumental passes, the recording was complete. The result is an innovative track born from spontaneous collaboration and a touch of self-doubt, turned into something uniquely captivating.”

Shot and edited by Nick Kulp with additional filming by Mathilde Cartoux, the accompanying video for “Bad Idea” was shot during various live performances by the band between 2023-2024 on a Sony Hi8 video camera, and was edited through various analog glitch processors.

New Video by William Ruben Helms

New Video: Seafoam Walls Share Woozily Meditative “Humanitarian Pt. II”

Formed back in 2016, the acclaimed Miami-based quartet Seafoam Walls — Jayan Bertrand (vocals, guitar), Josh Ewers (bass), Josue Vargas (electronic drums) and Dion Kerr (guitar) — quickly caught the attention of undgeround music and art communities across South Florida a unique sound that they dubbed “Caribbean Jazzgaze,” a mesh of jazz, showcase, rock, hip-hop and Afro-Caribbean rhythms.

The Miami- based outfit exploded into the larger, international scene following a secret, all-ages matinee show with DC-based hardcore photographer Susie J. and Sonic Youth‘s Thurston Moore. Building upon a rapidly growing profile, the band released 2018’s R-E-F-L-E-C-T EP and 2019’s one-off “Root.”

2021’s full-length debut, XVI, which featured the A Storm in Heaven-meets-TV on the Radio-like “Program” was released through Thurston Moore’s The Daydream Library Series.

The Miami-based outfit’s sophomore album Standing Too Close To The Elephant In The Room is slated for an October 18, 2024 release through Dion Dia. The album’s title is partially derived for a metaphor for the often overlooked but significant challenges and complexes that people face in their lives. But it also is a warning about getting caught up in the details — at the risk of missing the bigger picture. “Everyone has an elephant in the room; an obvious problem in their life that everyone, including the person affected, knowingly looks past,” the band’s frontman Jayan Bertrand explains. “BUT, I say that one is standing too close, because the problem is more complex and their vision is too obstructed to see the bigger picture. So viewers are providing their skewed perspectives of the same problem. It’s an illustration of the areas in which intersectionality fails to meet.”

Standing Too Close To The Elephant In The Room reportedly represents a new chapter for the band: The album’s material not only showcases the band’s evolution as musicians, but it also solidifies their reputation as bounding-pushing artists, inviting the listener to a Technicolor mist of experimental influences and instrumentation. Continuing their commitment to full artistic autonomy, the band’s members took production duties, shaping an album that will reward those who will revel in its sweeping soundscapes, as thematically the material delves deeper into questioning the trappings of modern society and all of its contradictions.

The album’s latest single “Humanitarian Pt. II” is anchored around glistening guitar melodies and a relentless motorik-like groove and bursts of whirring synths. The arrangement serves as a lush and dreamy bed for Bertrand’s meditative vocal to sing philosophical lyrics that examines the motivation that makes us choose our paths — and how we go about those paths. Some people are drawn to the attention or superficial perks of an occupation, without understanding what it really entails. Through the song, the listener must face the very shitty reality that only certain efforts, from certain people get rewarded. Certainly, whether as a musician, a writer or a photographer, these observations are familiar, especially when you see others seemingly being much more successful at what you do, than you are.

“Before I picked up a guitar, I was simply a fan of music,” the band’s Bertrand explains. “Then, I began learning about the oppressive tactics of governments worldwide, and my world shattered. The entities of authority that assured me that everything they did was just were actually a key part of the problem. I started to believe that art was the only safe space in this cruel world. ‘Humanitarian Pt. II’ is about disillusionment. 
 
“I jumped into the music scene headfirst without realizing that the same tactics would exist. I then made it my mission to call out such tactics and question our societal norms like my favorite artists before me.
 
I’m still looking for an answer to all of my pressing questions, but it helps to be grouped with people with a similar mindset who have practical solutions. I gravitated towards Dion Dia records for our latest and upcoming releases because while everyone I admired raised great questions and awareness, Dion Dia presented a hopeful alternative.”

Shot on VHS, the accompanying video is a lo-fi, goofy and surrealistic romp that features the elaborately costumed band members playing different instruments in the studio — and it includes the group sing-a-along, clap-a-long montage.

Video by William Ruben Helms

New Video: Kris Cari Shares Breakneck Banger “No Pasa Na”

Carlos Luis Arroyo Cruz is a Juana Diaz, Puerto Rico-based singer/songwriter and Latin Pop artist, best known as Kris Cari. HIs work simultaneously reflects his Puerto Rican heritage and a diverse range of influences, from Miles Davis to Bad Bunny. Back in 2020, Cruz began working with the production crew at 1Face Music, which paved the way for his debut EP, 2022’s Platinum Waves, an effort that was praised for its unique sound, while helping him gain a devoted following.

“A Donde Fue,” a collaboration with Tunon received airplay from SiriusXM’s Viva Channel.

Last year was a big year for the Puerto Rican artist. “Ojos Tristes” was featured at the San Antonio Film Festival and received praise for its emotional depth. Summertime hits “Invoca” and “Un Verano Mas” managed to captivate audiences with catchy hooks and infectious energy. While “Una Carta Pa Ti” addressed driving under the influence, aiming to raise awareness within the Hispanic/Latino community about a serious issue through powerful lyrics and visuals. His sophomore EP, Arca touched upon love, heartbreak and resilience while drawing parallels with the biblical flood allegory.

The rising Puerto Rican artist’s latest single “No Pasa Na,” is a breakneck and free-wheeling merengue banger featuring a looping, twinkling keyboard figure paired with a chugging rhythm, skittering beats, a remarkably catchy hook and Kris Cari’s swaggering and punchy delivery. It’s the sort of song that would turn a small family gathering into a sweaty dance party that has your neighbors coming to join in.

Directed by Maico Jimenez, the accompanying video for “No Pasa Na,” begins a prototypical Latin family gathering: Some of the women are playing with a baby. Grandma is serving plates of food. Others are playing dominoes. The TV is on, featuring a video within a video. Suddenly, the staid gathering becomes a sweaty party.

Video by William Ruben Helms

New Video: JOVM Mainstay TR/ST Shares Brooding and Uneasy “Performance”

Toronto-born, Los Angeles-based singer/songwriter and producer Robert Alfons is the creative mastermind behind the acclaimed JOVM mainstay project TR/ST. For well over a decade, Alfons has captivated audiences with a unique blend of dynamic vocals, emotive lyrics and late night sensuality. 

Alfons’ fifth TR/ST album, the TR/ST and Nightfeelings co-produced Performance is slated for a Friday release through Dais Records. The album’s title alludes to a friend’s offhand remark about the Canadian-born, Los Angeles-based artist’s intrinsically performative nature. Recorded in Los Angeles, the album’s material reportedly seethes with dread, lust, reckoning and abandon. Sonically, the production pair achieved a thick, smoky balance of eerie synths and fog machine low end paired with bruised, crooning vocals. The result is an album of material that moves between beauty and bitterness, rousing anthems and crushing anguish rooted by emotional turmoil, the lingering ghosts of guilt and the memories of those wronged and those still unforgiven. 

Alfons’ voice is the anchor in the storm, singing a collage of impressions and confessions with a smeared, stream of consciousness logic. He’s both observer and instigator, performer and playwright, liberated by the stage and the night.

Last month, I wrote about the Cecile Believe and Nightfeelings co-produced “Dark Day,” an ethereal yet uneasy track featuring eerily atmospheric and glistening synth arpeggios, skittering industrial clang and clatter serving as a foggy and unsettlingly brooding bed for Alfons’ bruised and aching vocal. “I think there’s something in the song about the flashes that come to you when you try to fall asleep, flashes that show you where you have unfinished business,” Alfons says of the song. “It was such a pleasure working with Cecile Believe and Nightfeelings on production for this track.”

Performance‘s latest single, album title track “Performance” continues a run of brooding and uneasy material, anchored around a foggy, strobe-lit fueled production featuring bursts of glistening synth arpeggios, skittering, reverb-soaked beats. Alfons’ aching and bruised delivery ethereally floats over the menacing soundscape.

Directed and edited by Bryan M. Ferguson and featuring cinematography by George Harwood, the accompanying video for “Performance” follows Alfons as he arrives at a grim karaoke bar. While he’s lost in his own performance, the sparse crowd is lost in their thoughts. You can almost feel the despair through the screen.

Video by William Ruben Helms

New Video: JOVM Mainstay Elisapie Tackles Sheryl Crow’s Smash-Hit “If It Makes You Happy”

Acclaimed Montréal-based singer/songwriter, musician, actor and activist Elisapie was born and raised in Salluit, a small village in Nunavik, Québec’s northernmost region. In this extremely remote community, accessible only by plane, she was raised by an extended, yet slightly dysfunctional adoptive family. Growing up in Salluit, she lived through the loss of cousins who ended their lives, experienced young love, danced the night away at the village’s community center and witnessed first hand, the effects of colonialism — i.e., poverty, hopelessness, alcoholism, suicide, and more. 

Much like countless bright and ambitious young people across the world, the Salluit-born artist moved to the big city — in this case, Montréal to study and, ultimately, pursue a career in music. Since then, her work whether within the confines of a band or as a solo artist constantly displays her unconditional attachment to her native territory, its people, and to her language, Inuktitut. Spoken for millennia, Inuktitut embodies the harshness of its environment and the wild yet breathtaking beauty of the Inuit territory. Thematically, her work frequently pairs Inuit themes and concerns with modern rock music, mixing tradition with modernity in a deft, seamless fashion. 

She won her first Juno Award as a member of Taima, and since stepping out into the spotlight as a solo artist, her work has received rapturous critical acclaim: 2018’s The Ballad of the Runaway Girl was shortlisted for the Polaris Music Prize, and earned her a number of Association du disque, de l’industrie du spectacle Québeécois (ADISQ) Felix Awards and a Juno Award nod. She followed up with a performance with the Orchestre Métropolitain de Montréal — at the invitation of Grammy Award-winning maestro Yannick Nézet Séguin — at Central Park SummerStage, a NPR Tiny Desk Session and headlining or festival sets both locally and internationally. 

In her native Canada, she is also known as an actor, starring in the TV series Motel Paradis and C.S. Roy’s experimental indie film VFC, which was released last year. She has also graced the cover of a number of magazines including Châtelaine, Elle Québec and a long list of others. And as a devoted activist, she created and produced the first nation-wide broadcast TV show to celebrate National Indigenous People’s Day. 

Her fourth solo album, last year’s Inuktitut features inventive re-imaginings of songs by Led Zeppelin, Pink Floyd, Blondie, Fleetwood Mac, Metallica and more. Each of the acts and artists covered have warmly given their blessing to receive the acclaimed Canadian artist’s unique treatment. Fittingly, each song is imbued with depth and purpose, as the album’s material is an act of cultural re-appropriation that reinvigorates the poetry of these beloved songs by placing them within Inuit traditions. 

Through the album’s 10 songs, the acclaimed Inuk tells her story and offers these songs as a loving gift to her community, making her language and culture resonate well beyond the borders of the Inuit territory. But the album is also a testament to the power and remarkable universality of pop music, a reminder of the universality of human life, and fittingly an ode to the experiences, memories, places and people, who have shaped us.

Almost a year since the release of Inuktitut, the JOVM mainstay returns with “Quviasukkuvit (If It Makes You Happy),” her take on the Sheryl Crow smash-hit that also took over the Nunavik radio airwaves when the Inuk artist was still a teen. Produced by close collaborator, singer/songwriter and multi-instrumentalist Joe Grass and translated into Inuktitut, Elisapie’s turns the twangy power ballad into a meditative and dreamily atmospheric tune anchored around some shoegazer-like textures and broodingly cinematic arrangements. The Inuk artist’s smoky and achingly tender delivery ethereally floats over the arrangement, expressing a nostalgic yearning for a time, a place and people that you can’t get back.

Much like the songs on Inuktitut, “Quviasukkuvit (If It Makes You Happy)” is inspired by one of Elisapie’s childhood memories: 

“An image that always comes to mind, no matter where I travel or live, is of the people dancing at the magical and dramatic Ikkarivvik Bar in Kuujjuaq,” the acclaimed Inuk artist says. “In my mind’s eye, it is always Friday night, and the moon is full. Most people are either a little drunk or very drunk. The bar and the dancefloor are an escape, and people dance to forget and escape. I recognize so many faces and I can see their smiles and closed eyes as they dance.

‘If It Makes You Happy’ was so popular in the North, and it reminds me so much of when I was a teenager. It played on TV and radio, and we listened to it at home. Those lines made us want to scream along with Sheryl. Her song liberates my people in the North, giving them the words to shout about being sad without feeling ashamed.”

When I perform this song, it has Sheryl Crow’s enthusiasm, but my Inuit sensibility slows it down, echoing the rhythm of the land.”

singer/songwriters by William Ruben Helms

New Video: JOVM Mainstay Chopper Shares Dark and Seductive “Wet Hot Summer”

Jonatan K. Magnussen is a Copenhagen-based singer/songwriter and musician, best known for being the frontman of Danish goth outfit The Love Coffin, and for being the frontman of JOVM mainstay act Chopper. And with Chopper, Magnussen specializes in what he dubs “shock pop,” a crowd-pleasing sound that draws from Eurodance, glam rock, industrial electronica, disco and B horror films. 

Over the course of the past year or so, the JOVM mainstay released two EPs:

  • Shock Pop Vol. 1, an exploration of the inherent dualities of the human condition that thematically touched upon love, sexuality and carefree joy while attempting to place influences like Pet Shop Boys, Skinny Puppy and Underworld within a modern context.

  • Shock Pop Vol. 2 features a broodingly atmospheric and cinematic sound that seems indebted to Rebel Yell-era Billy Idol, The Sisters of Mercy, Bauhaus, Scary Monsters-era Bowie and others. 

The JOVM mainstay will be releasing Shock Pop on November 1, 2024 through Pink Cotton Candy Records — both digitally and on vinyl. The album compiles Magnussen’s two critically applauded Shock Pop EPs into a singular album, which aligns with his initial vision. The album’s material sees Magnussen fully embracing vulnerability, kitsch and flamboyance with expansive and meticulously arranged avant-pop and post-punk inspired songs.

Shock Pop‘s latest single “Wet Hot Summer” is a brooding bit of 80s synth-driven goth/industrial that continues a remarkable run of hook-driven, club friendly material — but while possessing a kitschy, almost campy sensibility. The song, as the Danish JOVM mainstay explains delves into the complexities of love, lust and identity while also exploring themes of duality and contradiction, navigating the tension between emotional intimacy and distance.

Filmed by Brian Raaby Andersen and Thomas Skjøldstrup, and starring Mille Katharina Justinussen and Magnussen, the accompanying video follows a young woman on night out in Copenhagen — with the night increasingly taking on a dark, goth-like vibe.

Video by William Ruben Helms

New Video: Aramis Teams Up with Jules Vert on Flirty “Baby”

Founded and led by Québec-based singer/songwriter, musician and producer Urhiel Madran-Cyr, the alt pop/electro pop project Aramis can trace its history back to when Cyr along with two classmates and friends in CEGEP, a Québécois […]

Video by William Ruben Helms

New Video: Bohemian Cristal Instrument Shares Gorgeous Teaser for “New Nature”

Splitting her time between Los Angeles and the Czech Republic, the Czech-born singer/songwriter, producer and musician Lenka Moravkova is the creative mastermind behind the indie electro pop project My Name Is Ann and the solo experimental electro pop project  Bohemian Cristal Instrument. 

The Czech-born artist hails from the Bohemia region of the Czech Republic, a region famed for its glass industry. Inspired by the region’s history, Morakova created several striking multimedia installations based on the sound of local glass factories during their decline. Those installations also helped inspire and inform the Czech-born artist’s Bohemian Cristal Instrument project — and the unique instrument at the center of the project. 

In the early 1950s, siblings Bernard and François Baschet developed a new instrument, the Cristal Baschet. With a Cristal Bachet, metal rods are embedded into a heavy plate to form the elements. Each metal rod is accompanied by an attached glass rod. The metal rod’s length, weight and position at the equilibrium point help to determine the sound’s pitch. The player gently strokes and/or rubs the glass rods with wet fingertips. Moravkova’s Bohemian Cristal Instrument is a unique version of the Baschet’s Cristal Baschet that follows the Czech-born artist’s original design. With her unique instrument, the Czech-born artist creates immersive and hypnotic soundscapes that pair the otherworldly acoustics of the Bohemian Cristal Instrument with ambient and pulsating electronics and her vocals. 

2017-2019 was a busy, breakthrough period for the Czech-born artist: In 2017 she went on her first European tour, which included a one-off collaboration with William Close and The Earth Harp Collective as a headliner at that year’s Colours of Ostrava. She performed at a TEDx Talk and with Grammy-nominated artist Bora Yoon at Los Angeles’ The Broad Museum. Live footage of Moráková in the California desert went viral, amassing over two million views. 

UNICODE EP, Maravkova’s Bohemian Cristal Instrument debut was released in 2018. The following year, she performed at Eurosonic Nooderslag. She was shortlisted for SXSW twice — back in 2020 and in 2022. 

Maravkova’s latest single, the slow-burning “New Nature” is the first single from her upcoming Bohemian Cristal Instrument full-length debut. “New Nature” continues a run of dreamily ambient yet remarkably cinematic and gorgeous material. Featuring gently oscillating synths, broodingly ambient electronics, twinkling keys and the lush theremin-like tones of Moravkova’s unique instrument, “New Nature” according to the Czech-born artist is set in a post-human world, where technology, humanity and nature are all merged to create a new unity. While the song acts as the soundtrack to a post-apocalyptic landscape, it offers a sense of a bright, hopeful future.

Along with the single, Maravkova shares a breathtakingly gorgeous video teaser, which manages to evoke the hopeful and futuristic sweep of the accompanying cinematic song and her gorgeous Bohemian Cristal Instrument, suggesting that she becomes one with her instrument.

Video by William Ruben Helms

New Video: The Smile Shares Two from Forthcoming Third Album

Last year, The Smile —  Radiohead‘s Thom Yorke and Jonny Greenwood, and Sons of Kemet‘s Tom Skinner — released their critically acclaimed Nigel Godrich-produced full-length debut A Light For Attracting Attention. The album saw the acclaimed outfit collaborating with London Contemporary Orchestra and a full brass section of contemporary British jazz musicians that include Bryon Wallen, Theon Cross and Nathaniel Cross, Chelsea Carmichael, Robert Stillman, and Jason Yarde. 

The acclaimed trio started this year with the release of their Sam Petts-Davies-produced sophomore album Wall of Eyes. The album, which featured “Friend of a Friend” and album title track “Wall of Eyes” was recorded in Oxford and Abbey Road Studios sees the trip continuing their ongoing collaboration with London Contemporary Orchestra. The album, which charted at #3 on the UK album charts has also received “Best Album of Year So Far” nods from Pitchfork, The Needle Drop, Consequence, BrooklynVegan, Treblezine and Spin.

Their third album — and second of this year! — the 10-song Sam Petts-Davies-produced Cutouts was recorded in Oxford and Abbey Road Studios during the same period of Wall of Eyes. The new album is slated for an October 4, 2024 release through XL Recordings.

Adding to a busy and wildly creative year, Thom Yorke shared the original score for Daniele Luchetti’s film Confidenza and announced solo tour dates in New Zealand, Australia, Singapore and Japan. (Tour dates can be found here: https://www.wasteheadquarters.com/schedule/thom-yorke) Johnny Greenwood debuted a new work X Years of Reverb at Norwich, UK’s 268 year-old Octagon Chapel — and is writing the score for Paul Thomas Anderson’s upcoming film, The Battle of Baktan Cross. Tom Skinner released Voices of Bishara Live at “mu” and is touring the summer jazz festival circuit with his own solo material.

In the meantime, the trio share two new singles from the forthcoming third album.

“Foreign Spies” is a slow-burning and minimalist track featuring woozy synth arpeggios and Yorke’s imitably yearning delivery. Sounding a bit like a mix of Kid A and Amnesiac-era Radiohead, Beach House and Kraftwerk‘s “Hall of Mirrors,” “Foreign Spies” captures a sense of awe, nostalgia and despair.

Directed by Weirdcore, the accompanying video for “Foreign Spies” features computer-generated visuals of mountains that gently undulates with the woozy synths of the song.

“Zero Sum” is an a funky bit of post punk and math rock featuring a looping and arpeggiated guitar line, relentless four-on-the-floor punctuated with off-kilter percussion, bursts of swaggering horn and Yorke’s punchy vocal turn. Sounding a bit like wild mix of Talking Heads “I Zimbra” and “15 Step,” “Zero Sum” may arguably be the most hook-driven song written and recorded by the acclaimed trio.

Also directed by Weirdcore, the mind-bending accompanying video features a humanoid figure walking in a computer-generated landscape — but the video quickly appears as though you’re viewing a flip book with the humanoid figure seemingly undulating to the song’s off-kilter groove.

Video by William Ruben Helms

New Video: JOVM Mainstays Spaceface Share Woozy Cover of “Bittersweet Symphony”

Spaceface — co-founders Jake Ignalls and Eric Martin, along with touring members Marina Aguirre (bass) and Garet Powell (drums) — formed back in 2012. And since their formation, the self-professed “retro-futuristic dream rock outfit” have […]

Video by William Ruben Helms

New Video: Chengdu, China’s STOLEN Shares an Industrial Banger

Formed back in 2010, STOLEN is a pioneering and award-winning, Chengdu, China-based electronica quintet that specializes in a high-energy, dance floor friendly sound that features elements of techno, darkwave and post-punk.

Since the release of their full-length debut, 2015’s Loop, the Chinese outfit has built an international profile: Through collaborations with renowned brands like Hermés, Burberry and BMW, they’ve managed to merge their unique sound with current fashion trends. And adding to a growing international profile, they opened for New Order during the British New Wave legends’ 2019 European Union tour.

The Chengdu-based outfit will be embarking on a UK tour in October. The tour will feature newly remastered old and new tracks with enhanced avant-garde VJ visual effects, which promise to be a jaw-dropping live performance. But in the meantime, their latest single “Chaos,” is a darkwave-meets-industrial club banger featuring relentless, Giorgio Moroder-like synth oscillations, glistening synth melodies, skittering tweeter and woofer rattling beats, bursts of angular and discordant, post punk guitars and rousingly enormous hooks and choruses serving as a lush and brooding bed for breathily delivered vocals.

Written, directed and edited by Formol, the accompanying video for “Chaos” is cinematically shot, black and white fever dream featuring one of the most brilliant uses of cassette tape I’ve yet to see.

Video by William Ruben Helms

New Video: Sierra Spirit Shares Yearning and Wistful “bleed you”

Sierra Spirit Kihega is Tulsa-born, Connecticut-based Native American singer/songwriter, musician and creative mastermind behind the rising solo recording project Sierra Spirit. Storytelling is in Kihega’s blood. Growing up as a member of the Otoe-Missouria tribe and the Keetoowah Band of Cherokees, she spent afternoons and weekends driving around with her grandmother and visiting family on the reservation. With a black coffee in one hand and the steering wheel in the other, Kihega’s grandmother imparted life lessons through ancestral stories. “A central part of our culture is storytelling, and my grandmother turned everything into a beautiful story, big or small,” Kihega says. “I wouldn’t be the writer I am today if it weren’t for listening to her.”

Though she now currently resides in Connecticut, her music dwells with the red dirt of Oklahoma, where she was raised. “I’d always been a writer, but I started writing songs when I became very homesick,” she says. She missed long drives across flat stretches of arid landscape, the “insane sunsets,” and the proximity to family and community.

When she began sharing music online, she quickly found a community of fans, many of whom are fellow Indigenous creatives, who found kinship and understanding in the stories Kihega told. “There are things I need to heal from and it’s important to share, because I want other people who have experienced similar things to feel less alone,” she says. Before she signed to Giant Music, she had already earned both a growing fanbase and a critical acclaimed with the self-release of her first two singles “ghost” and “televangelic,” both of which appear on her debut EP. Those songs caught the attention of the Songwriters Hall of Fame, who recently awarded her a BMI Abe Olman Scholarship, which is given in the interest of encouraging and supporting the careers of young songwriters.

Kihega’s highly-anticipated debut EP coin toss is slated for an October 10, 2024 release through Giant Music. With coin toss, the Oklahoman-born artist renders a self-portrait in intimate detail, touching on themes of loss, addiction and mental illness. Inspired by artists like Julien Baker and Phoebe Bridgers, Spirit’s lyrics are frank vignettes. Although the collection of songs are personal, she stresses that the struggles she and her family have faced aren’t uncommon in Native communities.

“As a kid, I didn’t see an Indigenous experience reflected back at me in the media. Native people were always these outdated constructs in westerns,” Spirit says. “I want to be a voice for my community, amplifying that we’re still here. The culture is moving.” 

Kihega writes to memorialize people and experiences, but she also writes to overcome a history of mental illness. As a child, she was quiet and reserved, which made her fear she came across as unapproachable. “I had such intense anxiety that I spent my younger years keeping to myself out of fear of being misunderstood,” she says. Years have passed since, but Spirit still fixates on those lonely formative years when she felt like a self-described “pushover” and “kicked puppy” around her peers.

Earlier this summer, Kihega shared EP single “i’ll be waiting (pug),” which Flood called “a gentle and heartfelt appreciation for her late grandmother on the Cherokee side of her family, who went by the song’s parenthetical nickname.” The song draws on the Johnny Cash and country music she grew up listening to, while detailing the painful loss of her beloved grandmother, when Spirit was a teenager.

Featuring bursts of banjo and slide guitar, which nod to the country music she grew up with, the EP’s latest single “bleed you” is remarkably catchy tune that seems to bring Soccer Mommy and others to mind. But at its core is a nostalgic portrait of the Oklahoma of her youth and of a dangerously obsessive, heartsick kind of love.

“Have you ever loved someone to the point that it scares you?” Spirit shares. “You take the worst parts of them into account in an effort to make that feeling go away. But the harder you try the closer, the stronger you’re pulled in. This love grows to near obsession to the point that you want to consume their mind, body, and soul. You want in their skin and in their head. Nothing is close enough and no amount of their attention is good enough – you’ll always want more.” 

Directed by Pierce Pyrzenski, captures Spirit as one-half of a pair of star-crossed lovers on the beach at golden hour and sunset, full of youthful yearning and optimism. Though clearly, not shot in Oklahoma, there are nods to her teenage years, when kids would drive around, hang out, chat and dream big.

Video by William Ruben Helms

New Video: Nessi Gomes Shares Brooding and Cinematic “Moving Mirrors”

Guernsey-born and-based singer/songwriter Nessi Gomes is a Channel Island-Portuguese singer/songwriter, whose work draws from both sides of her ethnicity, the essence of the traditional, emotional Fado of Portugal with British modern, progressive pop.

Gomes’ full-length debut, 2016’s Diamonds & Demons received airplay and critical praise across the European Union and the UK, and was supported by touring across 30 countries that included stops across the major global festival circuit, as well as major stages.

Simultaneously, she created the growing Vocal Odyssey workshop and retreat series, which encourages participants to meet with the spirt of their voice. And since creating it, thousands of participants have experienced the process under her guidance.

Over the past seven-and-a-half years, Gomes and her work have amassed over 70 million streams across the major DSPs. However, her latest single “Morning Mirrors” marks a change in direction sonically and aesthetically. Featuring buzzing bass synths, strummed acoustic guitar, skittering beats and percussion, bursts of twinkling electronics, “Morning Mirrors” is a built around brooding Portishead-meets-Kid-A-era Radiohead-like production that serves as eerily lush and cinematic bed for Gomes’ soulful crooning.

Gomes explains that this own is a unique and experimental piece that fearlessly confronts toxic femininity while exploring themes of jealousy, comparison and the painful consequences they bring. “The song reflects my personal journey, reflecting light on the challenges faced when experiencing both sides of the coin,” Gomes says. “It uncovers the unconscious insecurities of some women who seek validation by tearing others down. ‘Morning Mirrors’ is a powerful call to challenge these destructive patterns and strive for a culture of support and empowerment among women. It advocates for empathy, understanding, and the need to foster a community where women uplift and empower one another.”

Directed by Yuval Nobelman and Alon Daniel, the accompanying video for “Moving Mirrors” was filmed in Guernsey on 16mm film, and features dancers and actors, who like Gomes are residents of the island battling each other in a WWE-styled battle royal.

Video by William Ruben Helms

New Video: Yeisy Rojas Shares Lush and Reverential “A Mis Ancestros”

I’m currently in Philadelphia for the fourth installment of Asian Arts Initiative’s Sound Type Music Festival and Music Writers Workshop. Of course, the show must go on as much as humanly possible. JOVM is very much like the saying engraved on the James Farley Post Office, which now comprises Moynihan Train Hall, “Neither snow nor rain nor heat nor gloom of night stays these couriers from the swift completion of their appointed rounds.”

So let’s get to it.

Yeisy Rojas is a Cuban-born, Oslo-based, classically trained, jazz violinist, singer/songwriter and composer. Back in her native Cuba, Rojas received a classical education and performed as a violinist with the National Opera Orchestra in Havana. Her passion for jazz led her to relocate to Norway, where she pursued her Masters studies in jazz violin at Kristiansand‘s University of Agder‘s Conservatory.  The cross-cultural experience allowed Rojas to deepen her understanding of the African influences in Cuban music.

As a solo artist, Rojas’ work frequently sees her blending Cuban music, Latin jazz, funk and more with powerful social messages — in particular, she boldly speaks up against racism in her homeland and elsewhere. Her full-length debut, last year’s Gaston Joya-produced A Mis Ancestros featured the previously released “Mama Ines,” an adaptation of Nicolás Guillén’s 1930 poem “Ayer Me Dijeron Negro” (Yesterday They Called Me Black) that pairs the poet’s words with a breezy and soulful arrangement that meshes elements of Latin soul, funk and jazz in a way that reminds me very fondly of the sounds of parties in the South Bronx, Lower East Side, Corona, East Elmhurst and so on.

Rojas has picked up work as a freelance violinist to support her career, playing events across Norway, Sweden and Denmark while earning multiple invitations to perform on Norwegian national radio. Back in 2022, she opened the International Jazz Day Gala at Oslo’s Nasjonal Jazz Scene, playing in front of a full house. The success of that performance inspired the Cuban-born, Oslo-based artist to create her own international jazz celebration, A Vision for Unity which aims to bring together artists from diverse nationalities to promote unity and peace through music. “We all are a family, and no matter where we come from, the only thing we want to do is to live in peace,” the Cuban-born, Oslo-based artist says. “Not because someone came from a dictatorship means that person is the enemy.”

In just its second edition, Rojas’ Vision for Unity has become a highly-anticipated event on the music calendar for local audiences while garnering increased attention from artists’ organizations across the country.

Earlier this year, the Cuban-born, Norwegian artist was highlighted by Billboard as an emerging start and by Rolling Stone en Español as an artist you need to know. Building upon a growing profile within the international Latin music scene, Rojas shares A Mis Ancestros‘ latest single, album title track “A Mis Ancestros” is a gorgeous and soulful synthesis of bebop-era jazz, salsa, son cubano that not only showcases Rojas’ prodigious talent, but proudly and unabashedly displays a deep, reverential pride for her homeland and her ancestry. The song is a fairly autobiographical story that will be familiar for countless immigrants across the world. The nostalgia for the homeland — the language, the dear ones, the smells, the food — not only sparks memories and comparisons, it also sparks a much deeper appreciation for their culture.

Directed by Marcus Støren, the accompanying video for “A Mis Ancestros” follows a young woman, who has bravely made the journey from her homeland to Norway to make a new life for herself. While looking at an old photo of her mother, she manages to travel back in time to reunite with her mother, who reminds her that she’s beautiful and should be proud of herself; that her skin coloring and her curly hair come from the Motherland; that Black is always beautiful. Through his journey, she meets her ancestors, who welcome and guide her.

Video by William Ruben Helms

New Video: Fort Myers, FL’s La Vibra Norteña Shares Aching “Adios Amor”

Fort Myers, FL-based Mexican music outfit La Vibra Norteña formed back in 2019. And since their formation, the band has specialized in norteño sax — or norteño with saxophone and accordion. Their debut single, last year’s “Mil Veces,” showcased their contagious energy while establishing a distinct take on norteño.

Building upon a growing profile within the regional Mexican music scene, the Fort Myers-based outfit released “Bachata Rosa” earlier this year. “Bachata Rosa” showcased their versatility and growth as musicians while showcasing material that paired emotional lyrics with captivating melodies.

La Vibra Norteña’s latest single “Adios Amor” is a gorgeous bit of norteño that pairs with traditional oompah oompah-like groove the genre is known for with a gorgeous melody and achingly earnest vocals in a heartfelt, bittersweet ballad. If you’re leaving your lover for a period of time — and maybe you’re a bit uncertain when you might reunite, this song will express the hurt and longing you may feel right now.