Tag: Radiohead Hail to the Thief

Last month, I wrote about the up-and-coming Brooklyn-based indie pop act Roofers Union, and as you may recall, with the release of their critically applauded single “Karate,” the act began to receive attention across the blogosphere  for meshing shimmering disco-tinged pop with material that thematically focuses on millennial ennui.  Their last single “Tortugas” was a decidedly uptempo and breezy track that reminded  me of Kid A and Hail to the Thief-era Radiohead.

Interestingly, their latest single “Friends” is centered around shuffling drums, a sinuous groove, and quick chord and tempo changes that finds the band sonically drawing from the trippy neo-soul of Hiatus Kaiyote and JOVM mainstays Bells Atlas while evoking the complex push and pull dynamics of friendship. The song also finds vocalist T.C. Tyge delivering lyrics that are playful yet direct; but much like its immediate predecessor, the song seethes with the contradictory feelings of resentment and appreciation.

“‘Friends’ is about reconciling the practical advice of a loved one with the intangible tangle of depression,” Roofers Union’s T.C. Tyge explains in press notes. “Often we are told things we don’t like to hear, or that go against our intuition about how to deal with our own feelings, but nevertheless can flatten a cognitive tower of troubles onto a manageable 2D surface. We usually need an outside perspective to get down to the concrete brass tax [sic] of what can be done about a situation. Hence, ‘You gotta relax if you wanna hang.'”

New Video: Up-and-Coming Brooklyn Act Roofers Union Release a 80s Inspired CGI Visual for “Tortugas”

With the release of the critically applauded single “Karate,” the up-and-coming Brooklyn-based indie pop act Roofers Union have begun to receive attention across the blogosphere for meshing shimmering disco-tinged pop with material that thematically focuses on millennial ennui.

The band’s latest single “Tortugas” is a decidedly uptempo and breezy track, centered around shimmering synths and rapid-fire drumming, frontman T.C. Tyre’s plaintive falsetto and cascading bass and guitar that bears an uncanny resemblance to Kid A and Hail to the Thief-era Radiohead. Bubbling under the breezy, radio friendly exterior is a darker, almost menacing edge. “Everybody has some problem, some terribly flavored pathology to their life that they’ve never quite been able to shake,” the band says about their latest single. “Whether it’s addiction, anxiety, heartbreak, chronic jealousy, loneliness. ‘Tortugas’ isn’t so much about what the issue is as much as how tenacious it can be. These troubles will always be watching from a distance, creeping slowly toward you.”

The recently released video by Patrick Sluiter employs the sort of CGI graphics reminiscent of Dire Straits’ “Money for Nothing,” as we follow a computer generated turtle and computer generated man frantically bop to the song in a sparsely furnished room. But underneath the mischievous charm is an equally menacing vibe that suggests that the characters are doomed to repeat the same thing for eternity — without any escape. 

 

New Video: Vienna, Austria’s Hearts Hearts Return with a Brooding and Artistic Meditation on Identity, Self-Invention and Perspective

“AAA” is the Austrian quintet’s latest single off Young and sonically it’s a song that nods at Kid A, Amnesiac, and Hail to the Thief-era Radiohead as shimmering guitar chords, stuttering drum programming, swirling electronics, twinkling keys and a lush string arrangement with Österle’s tender and aching falsetto expressing a deep yearning for more while possessing an underlying uncertainty at its core. Interestingly enough as the band’s frontman David Österle explained about both the song and its video treatment: “I think that the world is a place, where we can dare to pretend. ‘AAA’ deals with that basic feature of the human condition. We fake it till we make it, and thereby go (at least sometimes) astray in the plethora of metamorphoses in that societal masquerade. I think that by assuming different roles we ourselves are fulfilling the requirements of the economy, demanding excessive flexibility and changeability. As a result we all feel like faceless puppets sometimes.

“We wanted to make a video that visually underscores this figuration of identity as a permanent process of self-inventions. The video is much about showing people in different perspectives. The images are blurry, sometimes they are overlapping and merging together seamlessly. What the lens captures, is actually the performance of a performance, the play in a play.”