Tag: Peter Gabriel Peter Gabriel 3

New Video: Acclaimed Alt Pop Artist Vilde Releases Tense and Unsettling Visuals for “Warm Milk”

Best known as the frontman of British-based indie act Kins, the Melbourne, Australia-born and now Stockholm, Sweden-based singer/songwriter, multi-instrumentalist, producer Thomas Savage received attention with his solo recording project Vilde, which found Savage’s sound and overall aesthetic drawing from Radiohead, Wild Beasts, TV on the Radio, BØRNS and Tim Hecker — but with a warm take to the moody atmospherics that he dubbed “study-dance.” Now, if you had been frequenting this site last year, you may recall that Savage’s full-length debut eschewed the traditional album release format in which an artist releases a few singles, then puts out an album several months later; rather, much like JOVM mainstays The Raveonettes and Rene Lopez, he released a new single off the album every single month, and one of those singles, the Kid A-era Radiohead-like “Maintain” was a bit more of an uptempo affair with arpeggiated synth chords, a propulsive rhythm section and Savage’s plaintive, falsetto vocals floating over an icy mix.

Thud is Savage’s first proper album, and the album which is slated for a July 13, 2018 release found the Australian-born, Swedish-based singer/songwriter, multi-instrumentalist and producer superimposing the album’s overarching themes onto the material’s lyrics — and as he explains in press notes, that was an altogether much more natural process. “I hadn’t any idea for a theme in the beginning, the conscious element in the process is quite limited. It’s mostly reliant upon feeling resonance in the words rather than a specific line of thought. Sometimes I bring in more conscious thinking, but if I really succeed, they somehow manage to fall into linear coherency. I’m in it for the feeling of experiencing and what poured out of me afterwards, rather than attempting to express any sort of certainty. If I was certain about something, I supposed it’d be better as a novel.” Interestingly, throughout the writing and recording of the album, there was a recurrent element — “our relationship to technology and social media. I feel like the record almost became a plea for people to down their phones and speak to each other, or to just sit and think,” Savage adds. “But if this is the future for us, one should just accept it right?”

“Warm Milk,” Thud’s latest single is centered around a propulsive, motorik-like groove, shuffling beats, shimmering electronics and Savage’s plaintive vocals — but unlike his previously released material, not only does the song bring Peter Gabriel 3 and Security-era Peter Gabriel, Barbarossa and others to my mind (at least to my ears), it’s a deeply unsettling track meant to evoke the creeping dread and anxiety of being alone — and yet, when we’re constantly plugged into the digital realm, we’re always alone and never truly connecting with others.

Created by Elin Ghersinich and Thomas Savage, the recently released video is claustrophobic and unsettling as its centered around imagery of liquids being poured — at one point, the aforementioned white milk but cut with footage of Savage shot in an tightly cropped closeups in a dark, almost dungeon-like bathroom, full of self-loathing, regret and desperate loneliness. When we see Savage, it’s much like seeing a man struggling with his own warped, fractured psyche and emotions — and losing.

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New Video: The Lush Swooning and Psychedelic Visuals and Sounds of Jonathan Wilson’s “Loving You”

Jonathan Wilson is a Los Angeles, CA-based singer/songwriter, multi-instrumentalist and producer, who has collaborated with the likes of Father John Misty, Lucius, Karen Elson and Conor Oberst, contributed guitar and vocals as a member of the backing and touring bands for Roger Waters‘ Grammy nominated Is This The Life We Really Want?, and throughout that same period, the highly sought after Wilson has released two albums which have garnered comparisons to the Laurel Canyon troubadours of the 1960s and 1970s — in particular Crosby, Stills and Nash, Neil Young, Dennis Wilson, Tom Petty and others; however, Wilson’s third and forthcoming album, Rare Birds, which is slated for a March 2, 2018 release through Bella Union Records is reportedly one of the singer/songwriter, multi-instrumentalist and producer’s most ambitious, “maximalist” works to date featuring contributions from collaborators Father John Misty and Lucius, as well as Lana Del Rey and New Age musician Laraaji.

While much of the album’s material thematically and lyrically find Wilson meditating on a failed relationship and its aftermath, he has insisted in press notes that it’s not meant to specifically be a concept album. “It’s meant more as a healing affair, a rejuvenation, a reconciliation, for others, and for me. I wanted to balance personal narrative with the need I feel for calming, healing music. I think we need journeys in sound, psychedelic gossamer-winged music, to incite hope, positivity, longing, reckless abandon and regret. It’s all in there.” Late last year, I wrote about the album’s first single “Over The Midnight,” which brought to mind Peter Gabriel 3, Security and So-era Peter Gabriel, Kate Bush and Tears for Fears  while nodding at the lush psych pop of Tame Impala; but the song is underpinned by a swooning Romanticism, as it’s about a sacred and profoundly safe space where lovers could exist and freely be in love, escaping a world on the verge of collapse.

Rare Birds’ latest single “Loving You” continues in a similar vein as its predecessor as its a lush yet deeply meditative track with the bittersweet tinge of regret of someone, who’s looking back at a major relationship in his life, and of all the things he felt and believed that he should have or could have done. And as a result, it evokes the lingering ghosts of a man, who’s lived a messy and complicated life. Wilson says in press notes about the song, “One day, one of my musical heros Laraaji came into my studio to just experiment and record some music. I had the ditty ‘Loving You’ lying around, (it was a song I wrote from a feeling or inflection of a word I heard John Lennon emote in one of his songs) and I then put down a simple little drum machine beat along with the piano and vocal that you hear now. Laraaji then beautifully chanted over the song, one take … then he played his cosmic zither, undulated gracefully with his ipad, and truly shaped the scope of the track. I then added a specific drum/cymbal treatment used throughout Rare Birds, my funky Crumar bass, Lana Del Rey, a few other things and boom that was the genesis of the new album Rare Birds, that song set the tone.”

Directed By Matthew Daniel Siskin, the recently released video for “Loving You” will also continue Wilson’s run of pairing trippy and beautiful visuals to lush instrumentation. In this case the video features the renowned New Age multi-instrumentalist Laraaji floating over some gorgeous natural scenery — at points holding an old TV monitor that features a meditative Wilson singing the song. Later on, Wilson’s face and on that old TV monitor is seen in a number of New York locales, including an airport, a train station, a Manhattan intersection and so on. And interestingly, the visuals manage to further emphasize the swooning nature of the song.

New Video: The Trippy Psychedelia Meets New Age Visuals for Jonathan Wilson’s Lush New Single “Over The Midnight”

Jonathan Wilson is a Los Angeles, CA-based singer/songwriter, multi-instrumentalist and producer, who has collaborated with the likes of Father John Misty, Lucius, Karen Elson and Conor Oberst, contributed guitar and vocals as a member of the backing and touring bands for Roger Waters’ Grammy nominated Is This The Life We Really Want?, and throughout that same period, the highly sought after Wilson has released two albums which have garnered comparisons to the Laurel Canyon troubadours of the 1960s and 1970s — in particular Crosby, Stills and Nash, Neil Young, Dennis Wilson, Tom Petty and others; however, Wilson’s third and forthcoming album, Rare Birds, which is slated for a March 2, 2018 release through renowned indie label Bella Union Records is reportedly one of the singer/songwriter, multi-instrumentalist and producer’s most ambitious and downright “maximalist” works to date featuring contributions from collaborators Father John Misty and Lucius, as well as Lana Del Rey and New Age musician Laraaji.

While much of the album’s material thematically and lyrically find Wilson meditating on a failed relationship and its aftermath, he has insisted in press notes that it’s not meant to specifically be a concept album. “It’s meant more as a healing affair, a rejuvenation, a reconciliation, for others, and for me. I wanted to balance personal narrative with the need I feel for calming, healing music. I think we need journeys in sound, psychedelic gossamer-winged music, to incite hope, positivity, longing, reckless abandon and regret. It’s all in there.” And interestingly enough, the album’s first single “Over The Midnight” finds Wilson pairing British, early 80s synth pop with layered instrumentation that may bring to mind Peter Gabriel 3, Security and So-era Peter Gabriel, Kate Bush and Tears for Fears but while nodding at the lush psych pop of contemporaries like Tame Impala — but with a swooning romanticism; after all, the song is about a sacred and profoundly safe space where lovers could exist while escaping a world on the verge of collapse.

Directed by Andrea Nakhla and featuring animation by Clara Luzian, the recently released video for “Over The Midnight” draws from New Age concepts of consciousness and awareness of one’s connectedness to the larger universe around them and to others.

 

Live Footage: Fufanu Live on KEXP

Over the past couple of months here, I’ve written quite a bit about the Reykjavik, Iceland-based indie rock/post-punk trio Fufanu. The trio, which is currently comprised of founding members Kaktus Einarsson (vocals, guitar), whose father Einar, was a member of The Sugarcaubes and Guðlaugur “Gulli” Einarsson (guitar, programming) (no relation, by the way) along with Erling Bang (drums) can trace their origins to when the band’s founding members met while at school. According to the band’s founding duo, Katkus had glanced at Gulli’s iTunes and noticed that they had listened to a lot of the same techno and electronic music. And after quickly bonding over mutual interests, the duo went into a studio and began writing and recording electronic music under the name Captain Fufanu. Within a month of their formation, Kaktus Einarsson and Gulli Einarsson had started playing shows in and around Reykjavik.

Building on a growing local profile, the duo went into the studio to record what would be their full-length debut as Captain Fufanu; but in a strange twist of fate, the studio where Kaktus Einarsson and Gulli Einarsson had recorded the album was burgled. And as a result, the album was presumed lost. Instead of trying to recall the material they initially wrote from memory, Kaktus Einarsson and Gulli Einarsson decided that the moment was a perfect time for them to completely reinvent their sound. Interestingly, as that happened, Katkus was in London working on Damon Albarn’s Everyday Robots and touring with Bobby Womack when he began writing lyrics. Simultaneously Gulli had started to create a revised sound, which according to Kaktus Einarsson managed to coney exactly what he had been thinking. The duo then added guitars and drums, along with Kaktus’ brooding and detached vocals — and with their revised sound, renamed themselves Fufanu.

Their first live set with their new sound and aesthetic was at Iceland Airwaves and they quickly became one of the most talked about bands of the entire festival. Building upon the buzz they had received, they went into the studio their full-length debut A Few More Days To Go. And with the release of their debut, the duo received a rapidly growing national and international profile as they toured with a number of internationally renowned acts including The Vaccines and have played at JaJaJa Festival. With their recently released sophomore effort Sports, Kaktus and Gulli recruited Erling “Elli” Bang (drums) to further flesh out their sound as they expanded upon it and its thematic direction.

Now, you may recall that I’ve written about the first two singles off the Icelandic trio’s recently released sophomore effort Sports — the album’s title track “Sports,” which retained the synth-driven sound that first captured national and international attention while pairing it with a tight, motorik-like groove reminiscent of Can, Neu! Joy Division and early ’80s Peter Gabriel (in particular, think of Peter Gabriel 3 and Security) along with live instrumentation, which gives the material both an organic feel and a forcefulness — and “Liability,” which while continuing in a similar vein was a bit more slow-burning. Both singles possessed a murky and enigmatic air, they point at the soul-crushing mundanity and drudgery of daily life but just under the surface there’s the broiling frustration and resentment of someone who’s desperate to break free — and not sure how to do so without some recrimination.

Last year, the members of the band were on KEXP and the set included live versions of “Circus Life” and “Now” off their full-length debut Few More Days to Go along with “Sports” and then-unreleased single “Bad Rockets” off the recently released Sports. And while being fairly straightforward renditions of the material, the KEXP set will give you a sense of their intense and live set, a live set that frequently includes Kaktus Einarsson storming, strutting and stomping about the stage, alternating between being menacing and playful and so on. During this set, Kaktus throws his monitor headphones off his head and on to the floor, to headbang and stomp about as Gulli plays a furious and blistering solo. Just from this particular footage, I’m hoping that the Icelandic act will play a set or two here in NYC.