Tag: New Video

New Video: Blackwater Holylight Releases Dark and Creepy Visuals for Anthemic “Wave of Conscience”

Over the past few months, I’ve written a bit about Portland, OR-based rock act Blackwater Holylight, and as you may recall, the band which is comprised of founding member Allison “Sunny” Faris (vocals, bass) with Laura Hopkins (guitar, vocals), Cat Hoch (drums) and Sarah McKenna (synth) can actually trace it origins to when a previous band that Faris was in broke up, and she felt the n could to begin experimenting with what her own version of “heavy” should and could be both sonically and emotionally — all while celebrating vulnerability in all of its forms. Faris adds that because she had long been the only female in many of her bands, she wanted to see how songwriting and vulnerability could glow once they take the drivers seat within a band, and how it is was to work exclusively with women.

The band’s self-titled full-length debut was released earlier this year, and the album’s second single is the Led Zeppelin and Black Sabbath power chord-based dirge and strident, feminist anthem “Wave of Conscience,” that finds the band at their most expansive and forcefully self-assured — but while centered around ethereal harmonizing. Interestingly, the recently released video for “Wave of Conscience” is based around found and stock footage of black widow spiders, cartoons, animated movies, and other creepy crawlies attacking and fighting each other. Yes, it’s dark as fuck — and fittingly so.

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Live Footage: Denmark’s ONBC Performs the Gorgeous and Ethereal “Copenhagen” at Tapetown Studios

ONBC is a Copenhagen, Denmark-based indie rock quartet, comprised of some of Denmark’s most acclaimed musicians — and the band can trace its origins to the formation and breakup of its earliest iteration Oliver North Boy Choir, an electro pop-leaning act, which featured founding members Camilla Florentz (vocals, bass) and Mikkel Max Jorn (guitar), who were both members of indie band epo-555. After releasing a number of EPs and singles, as well as covers of The Jesus and Mary Chain and The Boo Radleys, the Oliver North Boy Choir split up. In 2014 the members of Oliver North Boy Choir reunited but with the recruitment of Tanja Forsberg Simonsen (vocals, synths), who was a member of influential Danish indie pop act superheroes and Private; Ivan Petersen (drums), the frontman of The Boombox Hearts, and a radical change in sonic direction, the band was renamed ONBC.

In their native Denmark, the quartet has received attention for a cinematic sound and songwriting approach that some have compared to Low, Chris Issak and Julee Cruise — although as soon as I heard the gorgeous, shoegazer-like “Copenhagen,” I immediately thought of Malmo, Sweden’s Fredrik, Coco Beware and Caveman-era Caveman and Beach House as the harmonies of Forsberg Simonsen and Florentz ethereally float over a delicate and sparse arrangement of shimmering guitar chords and dramatic drumming.

Now, if you’ve been frequenting this site over the past 15-18 months or so, you’d recall that Aarhus, Denmark-based recording studio Tapetown Studios and Sound of Aarhus have been inviting national. regional and even internationally recognized touring bands to come into their studios for a live session, which they film and release through the interwebs. During the live session’s run, a number of bands have participated and been featured including British indie rockers Ulrika Spacek, the Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his primary project The Fresh & Onlys, the renowned British psych rockers The Telescopes, and a growing list of others.

ONBC’s Tapetown Studio session, much like Sista Bossen’s session is presented by their label, Crunchy Frog Records and was filmed during Aarhus’ popular Danish and Scandinavian indie music festival, Spot Festival — and it may arguably be one of the most stunningly beautiful ones they’ve shot to date.

 

New Video: JOVM Mainstays SOFI TUKKER Release Mischievous and Brightly Colored Visuals for Thumping “Good Time Girl” feat. Charlie Barker

I’ve written quite a bit about the acclaimed, New York-based electro pop duo SOFI TUKKER throughout the course of this site’s eight year history, and with the release of their debut EP Soft Animals and their full-length debut Treehouse, which was released earlier this year, the duo have quickly built a blogosphere dominating, internationally recognized profile, thanks in part to a thumping, tribal house sound that subtly drew from Latin, African rhythms and other music; in fact, album single “Best Friend,” was a smash hit that received a Grammy nod, and was featured in an ad campaign for the iPhone X.

Treehouse’s latest single “Good Time Girl” is a sultry and percussive classic house music-inspired track centered around thumping, tweeter and woofer rocking beats, arpeggiated synth, blasts of strummed guitar and bass and an infectious, club rocking hook — and over that, SOFI TUKKER”s Sophie Hawley Weld and Charlie Barker trade equally sultry and breathy vocals. Sonically speaking the song is a seamless synthesis of DFA Records and Giorgio Moroder with a fearlessly mischievous vibe; but as Hawley Weld and Halpern explain in press notes, “This is a really personal, tongue-in-cheek song about navigating this nebulous thing called a ‘casual relationship.'”

Directed by Freddie Frantos, the video for “Good Time Girl”  was released just ahead of the renowned, JOVM mainstays European, Summer festival run, and the video features the members of SOFI TUKKER goofing off and hanging out with Charlie Banker’s houseboat. And much like their previously released video, “Good Time Girl” will further cement the duo’s reputation for crafting playful, high energy visuals in which they wear neon bright clothing. 

New Video: Up-and-Coming Canadian Born Producer and Electronic Music Artist Bruno Belissimo Releases Surreal, Mischievous Visuals for Sultry Retro-futuristic “Boloña Baleárica”

Born the son of Italian immigrants who moved to Canada in the 70s, Bruno Belissimo is a Toronto, Ontario, Canada-born and -based electronic music producer, multi-instrumentalist and electronic music artist, who grew up in a rather creative environment — his father owned a movie rental store and directed independent sci-fi movies and his mother managed a small cafe in the  St. Clarens neighborhood, best known as an enclave of Italian immigrants. As the story goes Belissimo showed a predisposition for music at a very young age: at 8 he was the best vocalist of his Baptist Church’s The Little Lord Singers and as he got older he won a scholarship at Toronto’s Royal Conservancy of Music, where he studied upright bass and composition. As he got older, Belissimo got interested in electronic music, and began producing his first tracks, quickly established his own style and sound, centered around disco-inspired programming and deep grooves. 

“Boloña Baleárica,” Belissismo’s sultry, new single features a swaggering, retro-futuristic production consisting of shimmering, arpeggiated synths reminiscent of Giorgio Moroder, tribal drum programming and warm yet soulful blast of horns. Sonically, the song sounds mischievously anachronistic — it could have been released in 1982, 1992, 2002 or today. As the Canadian producer, electronic music artist and multi-instrmetnalist says of the track “Boloña Baleárica is an homage to the sweaty and sweltering city of Bologna burnt by the sun in the scorching summer season. High cliffs instead of hills, fresh fish instead of Ragù and the surrounding sea instead of the city. This is the perfect soundtrack for your holidays in Bologna.”

Directed by Maison Blame, the video follows Stefano, the body builder, who’s obsessed with his physical shape and is like 100% muscle; Anna, a tourist; and Bellissimo through a sultry and sweaty Italian vacation in beautiful Bologna. 

New Video: The Eerie Yet Cinematic Visuals for Belau’s “Breath”

With the release of their first single “Island of Promise,” the Budapest, Hungary-based electronic music production and artist duo Belau, comprised of Peter Kedves and Buzas Krisztian quickly received attention across their native Hungary for a buoyant, summery and dance floor friendly sound meant to evoke “cheerful places, filled with sunshine, where one can relax, unwind and find peace and harmony,” as the duo explain in press notes. In fact, the single landed at number 1 on Deezer Hungary, one of the country’s biggest streaming services, and since its release has amassed over 500,000 streams, has been featured in the HBO Hungary series Aranyélet and in an international Pepsi ad campaign shown in 33 countries. 

Building upon a growing profile, the duo’s 2016 full-length debut The Odyssey won the Hungarian Grammy for Best Electronic Music Album, and they followed that up with a period of intense touring over the next two years in which they played over 120 shows in 19 countries with stops at Eurosonic, Sziget, Reeperbahn, Untold, and SXSW. 

The duo’s latest single “Breath,” find the duo collaborating with vocalist Sophie Lindinger   in a sultry and dance floor friendly track in which Lindinger’s breathy vocals are paired with a buoyant and incredibly slick production centered around glitchy beats, finger snaps and a sinuous yet incredibly anthemic hook. Sonically speaking, the song reveals a duo that manages to balance an adventurous and forward-thinking sound with an accessible approach. 

Directed by Attila Damokos, the recently released video for “Breath’ is an incredibly cinematic video that follows a beautiful but very lonely woman, through a series of flashbacks — her dying her hair blonde, sitting in an old fashioned furnished apartment smoking cigarettes by herself and traveling by train through the Hungarian country. And while beautiful, it evokes an underlying ache at its core. 

New Video: Introducing the Murky Synth-based Post-Punk of Columbus,OH’s Child of Night

Child of Night is a rather mysterious Columbus, OH-based post-punk act and over the course of two EPs — last year’s Breathless EP and Neither of These Alone Is Enough, the members of the band have quickly developed a reputation for crafting murky, lo-fi synth based post punk that sounds as though it were inspired by Joy Division, Interpol, The Cure and others. 

What Remains, Child of Night’s forthcoming EP is slated for a late August release through Altarpiece Records and the EP’s latest single “Sirens” continues on a similar vein as their previously released material — murky, synth based post punk with decidedly goth leanings; however, there’s a subtle refinement of their sound, as there’s a focus on crafting a steady, dance floor friendly groove centered around a propulsive bass line, and four-on-the-floor drumming. It’s as though Antics-era Interpol somehow went a smidge disco and a smudge in the direction of John Carpenter soundtracks. 

The recently released video for “Sirens” fittingly looks as though it were filmed on grainy and completely fucked up VHS tape, which in some way evokes lingering ghosts and menacing presences just out of the frame. 

New Video: The Debaucherous and Absurd Visuals for Tempesst’s “A Little Bit of Trouble”

Initially based around Queensland, Australia-born, founding members and twin siblings Toma Banjamin (vocals, guitar) and Andy Banjamin (drums), the up-and-coming psych rock/psych pop quintet Tempesst completed their lineup when the Benjamin Brothers relocated to London, where they eventually recruited Eric Weber (guitar), Kane Reynolds (keys) and Blake Misipeka (bass) to fill out the band’s lineup.  The Australian/British quintet’s 2017 debut EP, Adult Wonderland was released to critical praise in the UK — and as result of the growing buzz surrounding them, they wound up opening of the likes of The Veils, Temper Trap, GUM, and Albert Hammond, Jr., and they played showcases at The Great Escape, the NME Awards and Live at Leeds, as well as sets at Bushstock, Southsea Fest, and Hackney Wonderland.

Slated for release later this month, the band’s Doomsday EP is slated for a July 27, 2018 release and the effort, which was tracked over the course of a breakneck 4 days earlier this year reportedly finds the band expanding upon both their songwriting and sound,  adding instruments and layers to the proverbial sonic palette.  While maintaining elements of the 60s and 70s sound that won them attention across the UK, the Australian/British outfit manages to subtly modernize it, with subtle nods to contemporary psych rock and psych pop, as well as folk and indie rock. Interestingly, the EP thematically finds the up-and-coming band dealing with an increasing awareness of their own mortality. As the band’s Toma Banjamin says in press notes, “I have been caught in a ‘meaning of life’ spiral, which I guess is pretty normal in your 20s. It’s the first time that I’ve felt so aware of my mortality and it probably doesn’t help that the Facebook and Netflix algorithms keep feeding me documentaries on the topic.” In some way, that sense of mortality shouldn’t be surprising in a world that seems to be inching towards annihilation.

The EP’s latest single “A Little Bit of Trouble” is a decidedly 70s AM rock-inspired song centered around a jangling and shimmering guitar line, a stunningly gorgeous string line that emphasizes a soaring hook, and an easy going yet shuffling groove, but underneath the breezy vibes is a song that’s deeply rooted in a sense of regret and shame. There’s the sense that the song’s narrator repeatedly finds himself in similar, ridiculous situations — and that he has the awareness that he’s only doing it to himself. And as a result, he’s resolved to clean up his life, stop the foolishness and grow up.  Interestingly, the song as the band’s Toma Banjamin explains was inspired by a real life incident, “The week we started writing the instrumentals for the track we had a bit of an incident at a pub in East London. Some guys were giving Andy a hard time about his jacket or hat or something and everyone was pretty drunk. The song was written to capture the memory for eternity.”

The recently released video follows a male exotic dancer as he confidently struts to the strip club, like John Travolta in Saturday Night Fever but as the video progresses, it’s clear that the dancer’s confidence is a superficial facade, as he performs in front of a drunk and generally listless crowd, who are daring him to impress them — with something other than what he’s actually doing. Yes, it’s tongue in cheek but it manages to point out a larger absurdity that any performer should immediately recognize.

New Video: JOVM Mainstay Meshell Ndegeocello Releases Tender and Joyful Cover of Ralph Tresvant’s “Sensitivity”

Now, if you’ve been frequenting this site over the past couple of years, I’ve written quite a bit about the critically applauded, JOVM mainstay Meshell Ndegeocello– and as you may recall, the singer/songwriter, rapper and bassist was born Michelle Lynn Johnson in Berlin, Germany and was raised in Washington, DC.  When she turned 17, she adopted the name Meshell Ndegeocello, with the surname, as she has explained meaning “free like a bird in Swahili.”

In the late 80s, Ndedgeocello gigged around DC’s go-go circuit, playing with a number of local acts including Prophecy, Little Bennie and the Masters, and Rare Essence before unsuccessfully trying out for Living Colour’s bassist spot, after Muzz Skillings left the band. Deciding to go solo, Ndegeocello eventually caught the attention of Madonna, who signed the singer/songwriter, rapper and bassist to her Maverick Records. Most readers will remember her commercially successful collaborative coverof Van Morrison‘s “Wild Night,” with John Mellencamp, a single that peaked at #3 on the BillboardCharts in 1994 and “If That’s Your Boyfriend (He Wasn’t Last Night)” peaked at #73 later that year. Adding to a rapidly rising profile, she collaborated with the legendary Herbie Hancock on a track for Red Hot Organization’s AIDS awareness, tribute compilation Stolen Moments: Red Hot + Cool, which was named Time Magazine‘s “Album of the Year.”  Her coverof Bill Withers‘ “Who Is He (And What Is He to You)” was a #1 Dance Hit in 1996 and was briefly featured in the major motion picture Jerry Maguire, and she landed Dance Top 20 hits with “Earth,” “Leviticus: Faggot,” and “Stay.” Along with that she collaborated with Madonna, playing bass on “I’d Rather Be Your Lover,” and contributing a verse at the last minute, after Tupac Shakur had criminal charges filed against him. Ndegeocello has also collaborated with Chaka Khan, rapping  on “Never Miss the Water,” a single that landed #1 on Billboard‘s Dance Club Charts and peaked at #36 on the Hot R&B/Hip-Hop Singles Chart. Additionally, Ndegeocello has collaborated with the likes of Basement Jaxx,Indigo Girls, Scritti Politti,The Blind Boys of Alabama, The Rolling Stones, Alanis Morrissetteand Zap Mama.

Throughout her lengthy career, Ndegeocello has managed the rare feet of achieving commercial success while arguably being one of the most uncompromising and iconoclastic artists of the past 25 years — all while being credited as being at the forefront of the neo-soul sound, thanks in part to a genre defying and difficult to pigeonhole sound that draws from hip-hop, classic soul, jazz, rock, reggae and singer/songwriter pop. Over the past few years, Ndegeocello has been rather busy — she wrote and composed a musical influenced by James Baldwin’s The Fire Next Time, titled Can I Get a Witness?: The Gospel of James Baldwin and released a gorgeous tribute album to the legendary Nina Simone, which featured collaborations with fellow JOVM mainstay Cody ChesnuTT and others.

Ventriloquism, Ndegeocello’s later album was released earlier this year, and the album finds the renowned singer/songwriter and bassist covering songs by  TLC, Janet Jackson, Tina Tuner, Prince and others, who have been influential to her and her work — but with her unique take. As the renowned singer/songwriter and bassist explains in press notes, “Early on in my career, I was told to make the same kind of album again and again, and when I didn’t do that, I lost support. There isn’t much diversity within genres, which are ghettoizing themselves, and I liked the idea of turning hits I loved into something even just a little less familiar or formulaic. It was an opportunity to pay a new kind of tribute.” Ventriloquism’s first single was a coverof Force MD‘s smash hit “Tender Love,” that found Ndegeocello turning the slow-burning, 80s piano ballad into a folksy, Harvest-era Neil Young/Fleetwood Mac track, complete with shuffling drumming, twinkling Fender Rhodes and harmonica. Though she eschews some of the song’s cheesiness, which makes it endearing in its own right, Ndegeocello’s cover retains the song’s earnestness — pointing out that a well-written pop song can reach for something downright timeless. 

The album’s latest single is a cover of Ralph Tresvant’s “Sensitivity,” that briefly nods at Sting’s “Englishman in New York,” as it’s centered around loose, bluesy guitar chords, shuffling drumming and a New Orleans brass band-like bridge — and while retaining the song’s sultry nature, Ndegeocello manages to pull out and further emphasize the song’s tenderness.  Much like its predecessor, the new single continues Ndegeocello’s commentary on society’s narrow expectations on what music created by and performed by black artists should sound like and be like. 

Directed by the Cass Bird, the recently released video for “Sensitivity ” was specifically released in conjunction with the end of Pride Month — and in our dark and uncertain age, the video is a much-needed burst of joy and humanity, as the video was specifically cast to focus on faces, body types and identities that are less conventional, less celebrated and often misunderstood, capturing these people at their most vital, most joyful and most human — whether dancing, tenderly embracing, kissing and loving. Certainly, the world would be a much better place if there was more love and more gentle and human moments. 

New Video: JOVM Mainstay Evidence Releases Kaleidoscopic and Psychedelic Visuals for “The Factory”

Throughout the past few months, I’ve written quite a bit about the Los Angeles, CA-based emcee and producer Evidence. Now, as you may recall, the emcee and producer, who was born Michael Taylor Perretta is best known as member of renowned hip-hop act Dilated Peoples with whom he has released four full-length albums — and as a producer, Perretta has worked with Beastie Boys, Linkin Park, Swollen Members, Defari, Planet Asia, and has a co-production credit on on Kanye West’s Grammy-winning, full-length debut The College Dropout.

Perretta’s fourth album Weather or Not was released earlier this year, and the album is the first batch of new material from the Los Angeles-based emcee and producer since the 2014’s The Alchemist-produced Lord Steppingstone. Interestingly a number of singles from the album have been released, including the DJ Premier-produced third single “10,000 Hours,” which featured a swaggering and strutting West Coast gangsta hip-hop meets East Coast boom bap production paired with a criminally unheralded emcee rhyming about the dedication and time he has spent practicing, developing and honing his skills to become one of the very best. The album’s fourth single “Powder Cocaine” continued Evidence’s ongoing collaboration with The Alchemist, who contributed an atmospheric yet soulful production consisting of boom bap beats, warm blasts of bluesy guitar, a chopped up choral vocal sample and a soaring hook, and yet the production managed to be roomy enough to allow Evidence and Slug to trade bars full of diverse metaphors and descriptive symbolism. “Bad Publicity,” Weather or Not’s Nottz-produced fifth single continued in a similar vein as its predecessors as it was centered around a golden era hip-hop production that was roomy enough for  Evidence and Strong Arm Steady‘s gravelly-voiced Krondon to spit fiery, braggadocio-filled bars. 

The album’s latest single is the Twiz the Beat Pro-produced “The Factory,” a track centered around a kaleidoscopic and somewhat ambient production consisting of explosive blasts of scratching, twinkling strings, tweeter and woofer rocking boom bap beats — and much like its predecessor, the production manages to be roomy enough for one of contemporary hip-hop’s most dexterous emcees displaying an uncanny ability to craft complex rhymes with witty and hilarious punchlines. 

New Video: Wild Moccasins Release Symbolic Performance-based Visuals for Aching New Single “Longtime Listener”

Earlier this year, I wrote about the Houston, TX-based indie rock/indie pop act Wild Moccasins, and as you may recall, the act which is led by its founding duo Zahira Gutierrez (vocals, keys) and Cody Swann (guitar, vocals), and features Avery Davis (drums) Nicholas Cody (bass) can trace their origins back to 2007 when its founding duo started writing songs together, about a year into their romantic relationship. And although Wild Moccasins has gone through a number of lineup changes throughout its history, the band initially wrote and recorded indie rock-inspired work centered around dance pop-like guitar lines and tight vocal harmonies; however, with the release of 88 92, the Houston-based quartet had begun to increasingly incorporate synths and other New Wave influences into their work — and that has continued with their recently released Ben H. Allen-produced Look Together.

As the members of the band note, Allen inspired a much different approach to their writing and recording process, and the result is an album that finds the band blending the guitar driven elements of their early work with 80s and 90s synth pop and New Wave; but unlike their previously recorded material, the album thematically, lyrically and emotionally is centered around the the volatility, heartache and confusion of the dissolution of a longtime romantic relationship — in the case, the romantic relationship between Gutierrez and Swann. But along with that, the album focuses on the difficulties of repairing a relationship after a breakup, of fresh starts and shedding past insecurities.

As both Gutierrez and Swann note, the breakup of their romantic relationship and its immediate aftermath were extremely difficult as it occurred as the band was in the middle of a lengthy tour. They would spend the countless hours driving from city to city in the tour van in silence; on stage they’d painfully stare each other down; and they’d exchange exaggerated and embittered he-said-she-saids through songs. Although countless bands with a romantic couple at their center have split up, the former lovers decided to choose a way to reconcile their differences by working towards a common musical goal. Songwriting has been engrained within Gutierrez and Swann’s relationship and while being emotionally vulnerable with a former romantic partner was initially difficult, they also found that it helped clear the air between them. “I think we look back on that time and take some comfort in knowing that we went through that together,” says Swann. “It needed to happen in order for us to have this resolve.”“Yeah, it needed to happen,” Gutierrez adds. “Now, when I sing the songs, I find myself breathing a sigh of relief.”

“No Muse,” Look Together’s second single was a slickly produced, shimmering New Wave-like song with an infectious, arena friendly hook — but underneath the self-assuredness of its performance, the song bristles with the bitter and aching hurt of someone who realizes that they’ve been used, and that they’ve had enough of it all. As Gutierrez explains “‘No Muse’ is about feeling like men use women as muses in the wrong context. A lot of women have had the experience of being taken advantage of or had men in power try to take control of what they do, so this song encourages women to be their own muses. Because of what the song represents to me, I decided it was best for me to direct the video and sought out a female cinematographer (Rachel Bays) to shoot it in order to remove any sort of male gaze. I felt it was important to see the video through the eyes of a woman.”

“Longtime Listener,” Look Together’s latest single while being a mid-tempo ballad continues in a similar vein as its predecessor as its centered around a simmering New Wave-like arrangement and soaring hooks; however, emotionally the song focuses on the overwhelming and confusing push and pull of emotions in the immediate aftermath of a longtime breakup, as well as the lingering ghosts of memories, smells and so on. But much like Fleetwood Mac’s “You Can Go Your Own Way,” the song is a bit of a kiss off — in which the song’s narrator is busy putting on a brave face. And while being an aching ballad on what once was and can’t be again, and a bit of a kiss off, there’s the subtle reminder that there was this amazing connection that the narrator once had that’s become part of a messy but well-lived life — and perhaps just as important, that she will move forward and love again.

Directed by the band’s Zahira Gutierrez and Cody Swann, the video begins with Gutierrez sitting impatiently by the phone before answering it. Her bandmates continually hand her phones that she picks up, answers and hangs up and at her most overwhelmed,  Gutierrez and her similarly dressed bandmates go off to perform the song. It’s surreal but it captures the song’s ache and bitterness.