Tag: New Video

New Video: Scott Gilmore Returns with Wistful Visuals for “All Our Stuff”

Late last year, I wrote about Northridge, CA-based multi-instrumentalist, producer and electronic music artist Scott Gilmore, and as you may recall, Gilmore has recorded a handful of critically applauded releases through SFC REC and International Feel Records.  His forthcoming album Two Roomed Motel is slated for a March 1, 2019 release through Crammed Discs, the label home of Juana Molina. 

Interestingly, album single “Two Roomed Motel” was a funky, retro-futuristic synth pop track that to my ears brought Herbie Hancock‘s “Rockit,” Holy Ghost!‘s Crime Cutz, Return to Forever and the Los Angeles-based, post J Dilla beatmakers to mind; however, Gilmore meshes lo-fi bedroom recording with slick, highly contemporary production that feels and sounds mischievously anachronistic.  The album’s latest single “All Our Stuff” continues the retro-futuristic vibe of its predecessor as it features Gilmore’s heavily vocoder’ed vocals ethereally floating over shimmering and arpeggiated synths — and while sounding as though it could have been released between 1977-1983 or so, the song and the Gilmore-directed video “are both loosely based on the idea of attempting to inhabit a place that perpetually remains distant.” As a result, the song and the video posses a wistful and bittersweet air, full of the recognition that things are just out of reach. 

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New Video: Melbourne Australia’s Money for Rope Releases Frenzied Visuals for Blistering and Swaggering New Single

Money for Rope’s forthcoming sophomore album Picture Us comes on the heels of a four-year period of relentless and intense international touring that saw the quintet comprised of Julian Mckenzie (vocals, guitar, sax), Rick Parnaby (keys, telephone), Erick Scerba (drums, tambourine), Chris Loftis (kazoo, drums) and Ted Dempsey (bass, laser printing) tour across Europe, America and India, including a short run of dates with Courtney Barnettt, who was an early supporter. Adding to a growing international profile, the band played sets at Glastonbury Festival, SXSW and Primavera Sound Festival. 

“Actually,” Picture Us’ latest single is a swaggering and bluesy bit of garage surf centered around a propulsive bass line, fuzzy power chords and howled lyrics within a sprawling song structure — and while sounding as though it were influenced by The Black Keys, the song possesses a feral and unhinged quality, 

The recently released video features a series of dizzying still images of the band rolling around, jamming and fucking around in their house-turned rehearsal space. It’s a scrappily done DIY visual that captures the frenzied passion behind the music — and it’s fun as hell, too.  The band’s Erik Scerba says of the video and its creative process “The photos were very much on the fly although I had an idea of what I wanted it to look like. It was pretty much impossible to know the timing of everything, but there’s a part in the song where the crash hits with a shot of me hitting the crash and it just worked. Sometimes that shit happens. There’s a kinda psychedelic aspect to it all which I liked – using the images to do different things like capture some of us in two places at once. The black and white makes it more nightmarish. We wanted to have all the shots happen at once so it had a constant flow of momentum. The hardest part was editing, as 25 frames a second doesn’t match the song’s bpm.”

New Video: JOVM Mainstays Balthazar Return with a Deceptively Straightforward Rocker

Over the past handful of years, I’ve written quite a bit about Belgian singer/songwriter and multi-instrumentalist Maarten Devoldere, best known as the frontman of two critically applauded, internationally recognized acts and JOVM mainstays Balthazar and Warhaus, which was a side project conceived during a lengthy hiatus. Interestingly, Devoldere’s work with Balthazar was a sonic departure, as the project’s sound could be described as atmospheric, jazz-inspired art rock that may remind some listeners of The Church, Sting’s The Dream of the Blue Turtles and Nothing Like the Sun, Edith Piaf, and Leonard Cohen — paired with Devoldere’s urbane, decadent, novelistic lyrics.

While Devoldere was busy with Warhaus, at one point writing much of the project’s sophomore album in a remote retreat in Kyrgyzstan, his longtime friend, songwriting partner and Balthazar bandmate Jinte Deprez remained in Ghent, holing himself in the studio, where he indulged his love of old-school R&B, eventually releasing a solo album as J. Bernardt. And during their primary gig’s hiatus, Devoldere and Deprez enjoyed the ability to indulge their whims and follow their individual creative muses — while individually receiving commercial and critical success to be liberating. The duo also found that the time apart created an undeniable urge to work together again, propelled by a broader artistic horizon and their mutual respect for each other’s work. 

So when the members of Balthazar reconvened, they did so without any particular plan, just a desire to improve upon their previously released work and to further the band’s story.  As they were beginning to write material, Devoldere and Deprez agreed that their new material should have an overall less serious, less melancholy feel while leaning towards a looser, refreshed sound that retained the hook driven quality that won the band national and international attention. “Fever,” the first single and album title track off the band’s recently released Fever was inky and sultry track, centered around a strutting bass riff, stomping percussion, a swooping string motif, a sinuous hook, a twinkling bridge and Devoldere’s plaintive baritone to create a song that was playful and infectious.  “Entertainment,” the album’s second single continued in a similar vein as its predecessor but was centered around a swaggering and strutting vibe and an anthemic hook. Sonically, the Jinte Deprez-led song nodded at The Rolling Stones‘ “Sympathy for the Devil, but with some Afro pop-like polyrhythmic percussion. “I’m Never Gonna Let You Down Again,” the album’s third single was a slow-burning, Jinte Deprez led Quiet Storm-like jam that reminded me of Milagres’ “IDNYL” and classic Hall and Oates. As Deprez explained in press notes, “I’m Never Gonna Let You Down Again’ is a breakup song with a twist, a groovy soul ode with a synthesizer, a chorus with a Bee Gee touch. It’s shaking it off, wherever it stuck.”

“Wrong Vibration,” Fever’s fourth and latest single is a Maarten Devoldere song is a  superficially a sultry come-on that slowly reveals frustration and confusion over mixed signals. Much like its predecessors, the song is centered by an infectious and breezy hook, a sinuous yet propulsive bass line while being arguably one of the more straightforward rockers on the album. 

Directed by Benny Vandendriessche, the recently released video for “Wrong Vibration” features the band’s creative duo in a dramatic, slow-motion theatrical stage performance, seemingly rooted  in a series of mixed signals and miscommunications. 

New Video: JOVM Mainstays Preoccupations Release Stark and Gorgeously Cinematic Visuals for Album Closer “Compliance”

Over the past handful of years, I’ve written quite a bit about the Canadian post-punk act and JOVM mainstays Preoccupations. And as you may recall, the band’s third full-length album New Material was released last year through Jagjaguwar Records, and the album further cements the band’s growing reputation or crafting dark and moody post-punk that touches upon themes of anxiety, uncertainty, creation, destruction and futility while being “an ode to depression. To depression and self-sabotage, and looking inward at yourself with extreme hatred,” the band’s Matt Flegel explained in press notes.

Much like their sophomore album, the band met without having much written or demoed beforehand — and according to the members of the band, it was arguably one of the most collaborative writing sessions they ever had as a band, with the sessions being extremely architectural in nature, as some ideas were  (proverbially speaking) being built up while others were torn down to the support beams. Initially they didn’t know what the songs were about or where they were going with them, they had resolved to let the material show and not explicitly not tell; however, the writing and recording sessions reportedly led to a reckoning for the band’s Flegel. “Finishing ‘Espionage’ was when I realized. I looked at the rest of the lyrics and realized the magnitude of what was wrong,” says Flegel. In fact, the murky and angular  Manchester/Joy Division-like first single “Espionage,” while being among the most danceable songs they’ve written and released, focuses on a narrator, who has finally become aware of a disturbing penchant for self-sabotage in every aspect of his life. “Antidote,” New Material‘s second single was centered around propulsive, industrial clang and clatter meant to convey a sweaty anxiety; however, the song is actually about how humans forget that they’re walking, talking, shitting animals — animals that have an infinite amount of knowledge within their fingertips but still manage to repeatedly making terrible choices. “Disarray,” the album’s third single was meditative and slow-burning single featuring shimmering guitar chords, an angular and propulsive bass line, organic drumming and boom bap-like drum machine work during the song’s bridge. And while superficially nodding at Turn On the Bright Lights-era Interpol, the song captures something much darker and uncertain — as it was centered around someone, who from their perspective, views everything they’ve ever known to be a lie. The album’s fourth single “Decompose” was an angular and propulsive track that featured twinkling synths, buzzing power chords and an eerie sense of melodicism that underlies the song’s danceable vibe. 

Album closer “Compliance” is a decided and stark sonic departure for the band as it’s a climatic wall of industrial clang, clatter and other noise — but two chiming tones peak up and rise upward, giving the instrumental track a yearning nature. Directed by Nicholas Brown and Evan Henderson, the recently released video for “Compliance” is set in a post-apocalyptic world, featuring an enigmatic forest spirit named “Mariah.”  As the band explains in press notes, “Mariah has awakened from eons of slumber to a world that has long been abandoned by humans and heavily mutated by their waste and consumption. As Mariah struggles to make sense of this new world, she grieves for the one she has lost forever. The Mariah creature was painstakingly designed and constructed by Brown, portrayed by Henderson, and captured by the haunting and beautiful cinematography of Adam Stewart. Compliance brings a close to this chapter of the band as we look towards the future and marvel at the new heights their [sic] music will take.”

New Video: JOVM Mainstays Blushing Return with Wistful and Hazy Visuals for “The Truth”

Over the past couple of years, I’ve written a bit about the Austin, TX-based dream pop/shoegaze quartet Blushing. And as you may recall, the act, which is comprised of two married couples — Christina Carmona (vocals, bass) and Noe Carmona (guitar, keys) and Michelle Soto (guitar, vocals) and Jake Soto (drums) can trace its origins back to 2015. As the story goes, after spending several years writing material on guitar, Michelle Soto recruited her classically trained friend Christina Carmona to join her new project, and shortly after, Soto and Carmona recruited their spouses to complete the band’s lineup. The quartet spent about a year or so writing and revising material before heading to Bad Wolf Recordings to record their debut EP Tether, which was released to positive reviews across the blogosphere, including this site. 

Building upon a growing profile, the Austin-based shoegazers returned to the studio to record their sophomore EP Weak, which was released through Austin Town Hall Records last year. And from EP title track “Weak,” the band further cemented their reputation for crafting material that sonically was indebted to the likes of Lush, Cocteau Twins and The Sundays while being a gentle refinement of the sound and aesthetic that first caught the attention of this site and the rest of the blogosphere. The members of Blushing ending last year with the release of the Elliot Frazier-produced and mixed “The Truth”/”Sunshine” 7 inch, which was released both digitally and on colored vinyl through The Nothing Song Records. Interestingly, the 7 inch found Blushing expanding upon their sound with “The Truth” arguably being one of the most muscular songs in their growing catalog while retaining the haziness that have drawn the attention of fans and critics. Centered around layers of shimmering  guitar lines, thundering drumming, Michelle Soto’s and Christina Carmona’s gorgeously ethereal vocals and a soaring hook within an expansive song structure. Sonically the song’s haziness is paired with hazy lyrics that seem to depict a growing love affair between two equally insecure and neurotic people, who can’t seem to get out of their own way — and are afraid of getting hurt. But at the end of the day, the most important thing is to be in — and in turn, feel — the present moment; it’s all we got. 

Produced and directed by Kendall Chapman, the recently released video for “The Truth” finds Michelle Soto and Christina Carmona alternating between brooding and goofing off in a local arcade, where they win enough tickets for silly string, some glow in the dark plastic swords, bubbles and goof off with their spouses; but throughout there’s a wistful feel to the proceedings, as though there’s the recognition that all things must end. 

2019 looks to be a huge year for the Austin-based shoegazers: they’ll be making their second official SXSW showcase appearance, which they’ll follow up with their first West Coast tour  — and their highly-anticipated full-length debut is slated for release in March. Hopefully, they’ll be making a New York City area stop at some point! 

New Video: Bedstudy’s Shimmering and Woozy Take on Electro Pop

Founded in 2016 by founding members David Plakon (production) and Peter Baldwin (vocals), along with newest member Ranson Vorpahl (drums), the Brooklyn-based electro R&B/electro soul act Bedstudy can trace their origins to when the act’s founding duo met at Plakon’s Florida studio, where Baldwin was working on his debut album. After independently moving to Brooklyn, Baldwin and Plakon reconnected at a Tall Juan show at Berlin Under A and decided they should start a band together.

Within their first year together, the duo quickly wrote and released four singles, including “Arms Away,” which Paper Magazine called “gorgeously woozy.” Vorphal joined the band in 2017 to complete the band’s lineup. The newly constituted trio  then spent another year writing and revising their sound before signing to Grand Jury Music, who will be releasing their highly-anticipated EP dot wave on February 15, 2019. Primarily recorded at David Plakon’s Crown Heights home studio with some additional sessions at Braund Studios and Black Rock Studios, the effort reportedly finds the act expanding upon the sound that first won them attention. Interestingly, the EP’s latest single “12” is centered around twinkling keys, a sinuous bass line, thumping drumming and Baldwin’s plaintive vocals, the track is a shimmering and woozy take on contemporary electro pop that brings to mind JOVM mainstays Beacon and No Kind of Rider’s Savage Coast but with a decidedly hip-hop swagger. 

Directed and edited by Tess Lafia, starring Riley Cedar and Sebastian Borberg and featuring animation by David Herrera, the recently released video for “12” features some incredibly hallucinogenic visuals that nod at several different decades at once that to my eyes evoke a trip that’s disorientating and woozy. 

Live Footage: Up-and-Coming Belgian Post-Rock Act BRUTUS Performs “War” at Rain City

With the release of their full-length debut, 2017’s Burst, the Leuven, Belgium-based post-rock trio BRUTUS, comprised of Stefanie Mannaerts (drums, vocals), Stijn Vanhoegaerden (guitar) and Peter Mulders (bass) quickly received a national and international presence — and since their full-length debut’s release, they’ve toured with JOVM mainstay Chelsea Wolfe, Thrice, Russian Circles, played the major heavy EU festivals. Along with that Metallica’s Lars Ulrich has championed them. 

Building upon a rapidly growing profile, the Belgian post-rock trio’s Jesse Gander-produced sophomore album Nest is slated for a March 29, 2019 release through Sargent House Records. Interestingly, the members of the band will openly admit that the formative sound of the band was shaped by necessity: Mannaerts adopted vocal duties initially because no one else would. But with Nest, Mannaerts reportedly fully embraces her role as vocalist and drummer, with the album’s material revealing the full range of her talents  while the band as a whole has expanded upon and tightened their sound and approach. Thematically, the album focuses on the path they’ve taken — the euphoric highs of achieving a lifelong dream and success; but underlying all of that are moments of reflection, in which they all consider the choices they’ve made to pursue their dreams, and the impact those choices had on those, who they had to leave behind. The material focuses on the strange yet necessary friction between the band’s forward momentum and their desire to maintain connections to those back at home. But are such things possible when the things you’ve experienced, the things you’ve seen and done have become so different than those of your peers — and when you’ve taken such enormous risks to get to where you are at this moment? 

Clocking in at a little under 5 minutes and centered by Mannaerts’ expressive and emotional falsetto, Nest’s first single is the expansive “War,” a track that alternates between dreamy and ruminative shoegaze, aggressive and forceful thrash metal, complete with enormous arena filling hooks and even more massive power chords. Sonically, the song has an underlying painterly quality — with the song’s layers feeling like brushstrokes adding detail on the canvas; however, the track evokes the raw ache of isolation and the bleakness of taking stock of oneself — fully alone. 

The live footage captures the band perfuming “War” at Rain City and it captures the unique bond the musicians have while evoking the song’s raw and heartfelt emotions. 

New Video: Up-and-Coming Scottish Indie Rock Act Sister John Releases a Self-Assured Classic Rock-Like Single

Led by Amanda McKeown, the up-and-coming Glasgow, Scotland-based indie rock act Sister John can trace its origins to when its members met while singing in The Parsonage Choir. McKeown cajoled her then-future bandmates into helping her perform some original material at a one-off event, and as the story goes, the members of the band immediately recognized an intrinsic simpatico that quickly made them inseparable.  

Quickly developing new material and their own sound, the Glasgow, Scotland indie rock act signed to Last Night From Glasgow Records in December 2016 with the label releasing their first single, “He Came Down,” an original, alternative Christmas song, which they followed up with a set at the LNFG/TeenCanteen Christmas Effect charity showcase. Their second single “Sweetest Moment” was released the following June and was named BBC Radio Scotland’s Single of the Week, while receiving airplay on the Roddy Hart Show. Within a year of signing to Last Night From Glasgow Records, Sister John wrote, recorded and released their critically full-length debut, Returned From Sea, which they followed up with a series of sold out shows across the UK, as well as a showcase at Glasgow’s winter music festival Celtic Connections. 

Building upon a growing profile and growing confidence from the positive reception of their full-length debut, the band released “Friends” in early 2018 before heading to the studio to begin work on their self-titled sophomore album, which is slated for release later this week. Reportedly, the soon-to-be released album finds the band squeezing more out of their sound on some tracks while filtering and minimizing on others — with some points, the material taking on a darker sound and vibe. Interestingly, the album’s first single “I’m The One” has been compared to post-Nico Velvet Underground — and that shouldn’t be surprising as the incredible self-assured its centered around a looping and twangy guitar line, a propulsive rhythm section and a sing-songy vocal delivery. The result is a song with a sleazy, bar room strut with a vulnerable, longing underbelly. 

Directed and filmed by Brian Sweeney and Fabio Rebelo, the recently released video features the band performing the song at a tiny, local club with the Whitburn Northern Soul Dancers dancing along. It’s a delightful and mischievously anachronistic visual. 

New Video: Introducing Up-and-Coming Australian Singer/Songwriter Grace Turner

Last year was a breakthrough year for the up-and-coming, Newcastle, New South Wales, Australia-based singer/songwriter and guitarist Grace Turner as her single “Dead or Alive” received attention in North America, landing on Spotify US’ Viral 50 Playlist and Apple Music’s Best of the Week. Following the track’s release, Turner opened for Alex the Astronaut, Gabriella Cohen, Jess Locke and Kingswood — and since then, “Dead or Alive” has amassed more than 500,000 streams. In her native Australia, Turner was named a triple j Unearthed Artist of the Week, and her latest single “Easy I Fall,” which was released a few weeks ago in Australia received airplay on triple j and FBi. 

“Easy I Fall” was recently released across North America and the track will further cement Turner’s growing reputation for a sound that meshes elements of indie rock with alt country, compete with jangling chords during the song’s verses, fuzzy power chords during the song’s soaring hook and chorus. Bearing an uncanny resemblance to the work of Bryde, Eliza Shaddad, Ruby Boots and others, Turner’s latest single is centered around an unvarnished and unfiltered honesty. In this case, the song’s narrator openly talks about a relationship teetering on the brink — and while the narrator’s love interest is trying his best, the narrator realizes that the relationship is over, and that it’s been over for a while; in fact, she’s been trying to tell her lover that she’s wanted to leave for some time. And as a result, the song captures the indecision, fear and awkwardness of relationships as they inch towards their inevitable end. 

Filmed, edited by videographer James Rhodes and co-produced by Rhodes and Turner, the recently released video for “Easy I Fall” was shot in Super 8 Film at The Royal Exchange, a quaint theater in Turner’s hometown. Standing in front of a floral background that recalls the work of Frida Kahlo, the video features Turner in two dresses made by designers Millie Shorter and Ellie Hannon from scratch — an 80s inspired, big-shouldered flower print dress and a simple white dress with jewelry shaped like enormous third eyes. The video captures Turner in some visually overstated scenarios while she performs with an understated yet candid presence. 

Building upon the growing buzz surrounding her, the Newcastle, Australia-based singer/songwriter and guitarist announced that she’ll be playing at this year’s SXSW and a run of solo dates with Grinspoon’s Phil Jamieson. 

New Video: Anemone Releases Breezily Bittersweet Album Single “Memory Lane”

Throughout the course of last year, I wrote quite a bit about the Montreal-indie pop/dream pop act Anemone, and as you may recall, the act which is led by Chloe Soldevila (keys, vocals) and featuring Miles Dupire-Gagnon (drums), Gabriel Lambert (guitar), Samuel Gemme (bass) and Zachary Irving (guitar) specializes in a breezy and nostalgic take on dream pop.

Early last year, the Canadian dream pop quartet released their attention-grabbing debut EP, which they supported with a series of critically applauded SXSW shows, and some relentless touring across North America; in fact, I was first introduced to Anemone when they opened for HAERTS at Baby’s All Right.. Building upon a growing profile, the members of Anemone will be releasing their highly-anticipated full-length debut Beat My Distance on February 15, 2019 through Luminelle Records. I’ve written about two album singles so far — the breezy and sunny “Sunshine (Back To The Start)” which was built around jangling and chiming guitar lines, a propulsive, disco-influenced bass line, a steady backbeat and Soldevilla’s plaintive, ethereal vocals. But ironically, the song is centered around the hope of a brighter day after experiencing painful heartache. “She’s The One” continued in a similar vein, as it was a shimmering and ethereal track that possessed a subtly bittersweet undertone. That shouldn’t be surprising as the song focuses on two paradoxical tendencies/patterns in relationships and how they frequently work against each other: the infatuation and idealization of someone, thinking they must be “the one” until you really get to know them — and the tendency to protect yourself and stay independent, at almost all costs with the result of closing yourself off from having a profound connection with another. 

“Memory Lane,” Beat My Distance’s latest single finds the Canadian dream pop act effortlessly meshing psych pop with 70s AM rock, complete with twinkling keys, a propulsive bass line, twangy guitar and trippy layers of percussion — over which Soldevilla’s ethereal vocals sing ruminative vocals. As Anemone’s Soldevilla says in press notes, “‘Memory Lane’ is reminiscent of one’s unrepairable distance from another – the other not giving enough care to a mutual romance in an opportune time, causing both people to move on in separate directions. The outro of the song acts as a lullaby; a soothing, melodic repetition that breaths a fantasy of slowly building the inner-strength to accept that those memories can no longer be the future. Passionate events that once seemed stronger than anything slowly fade away as your inner strength grows ~ it is a powerful feeling.”

Directed by Laura-Lynn Petrick, the recently released video for “Memory Lane” was shot with grainy Super 8 Film and features the members of Anemone goofing off and enjoying a summer day at the lake and at a local farm. Some of the footage is shot with a prism just over the lens, which creates a trippy kaleidoscopic effect to the proceedings — and unsurprisingly, it looks like early promotional music videos from the late 60s and early 70s.