Tag: Tame Impala

New Video: JOVM Mainstay Tame Impala Releases a Lysergic and Feverish Visual for “Breathe Deeper”

Over this site’s decade-plus history, I’ve managed to spill quite of virtual ink covering Perth, Australia-born and-based singer/songwriter, multi-instrumentalist, producer and JOVM mainstay Kevin Parker, best known as the creative mastermind behind the multiple Grammy Award-nominated, critically applauded and commercially successful psych pop/synth pop at Tame Impala.

Parker’s fourth Tame Impala effort, The Slow Rush was released earlier this year, and the album continues an impressive and downright enviable run of critically applauded and commercially successful material. But thematically the album focuses on the rapid passing of time and life’s infinite cycles of creation and destruction — with the material conjuring the feeling of a lifetime in a lighting bolt, and of major milestones and events whizzing by you, while you stare at your phone. “A lot of the songs carry this idea of time passing, of seeing your life flash before your eyes, being able to see clearly your life from this point onwards. I’m being swept by this notion of time passing. There’s something really intoxicating about it,” Parker told the New York Times.

So far I’ve written about five of The Slow Rush’s singles:

“Patience,”an upbeat meditation on the cycles and phases of life, centered around a sound that seamlessly meshed 70s funk and 90s house.
“Borderline,” a hook-driven, blissed out track with house music flourishes.
“It Might Be Time,”a swaggering prog rock meets psych pop anthem featuring shimmering synth arpeggios, thumping beats and an enormous hook.
Lost in Yesterday,” a woozy and lysergic, disco-tinged banger that explores time’s distorting effect on perspective and memories
“Is It True,”a swooning, dance floor friendly banger that focuses on the countless paths our lives can take with just one single decision — and the confusion and uncertainty of love.

2020 has managed to be a momentous year for the Aussie JOVM mainstay in terms of accolades:

Earlier this year, Parker was nominated for two Billboard Music Awards and an American Music Award.
Last month, Tame Impala won 5 of the 7 categories he was nominated for at this year’s ARIA Awards: Album of the Year, Best Group, Best Rock Album, Best Engineer and Best Producer.
Parker recently received nominations for two Grammy Awards — Best Alternative Album and Best Rock Song for “Lost In Yesterday.” The latest Best Alternative Album Grammy is Parker’s third, after receiving nominations for Currents and Lonerism.

And to cap off a busy year, Parker has released the sixth single off The Slow Rush, “Breathe Deeper,” a woozy pop banger, centered around shimmering synths, twinkling keys, skittering beats, and a sinuous bass line and Parker’s plaintive cooing. And much like its immediate predecessors, “Breathe Deeper” finds Parker crafting a hook-driven and seamless synthesis of synth pop, psych pop, house music and Quiet Storm soul.

Directed by Butt Studio, the recently released video is a lysergic fever dream that follows two brightly colored, CGI mosquitos flying through an otherworldly landscape.


Brooklyn-based psych pop/dance pop act Psymon Spine — Noah Prebish, Sabine Holler, Brother Michael Rudinski, and Peter Spears — can trace its origins back to when its founding duo of Noah Prebish and Peter Spears met while attending college. Bonding over mutual influences and common artistic aims, Psymon Spine’s founding duo toured the European Union with Prebish’s electronic project Karate. And as the story goes, while in Paris,  Spears and Prebish wrote their first song together. By the time, they arrived in London, they were offered a record deal. 

When the band’s founding duo returned to the States, Spears recruited Micheal “Brother Micheal” Rudinski and their Karate bandmates Devon Kilbern, Nathaniel Coffey to join their newest project. And with that lineup, they fished out the demos, which wold eventually comprise their full-length debut, 2017’s You Are Coming to My Birthday. The band went out to support the effort with immersive art and dance parties like their Secret Friend party series across Brooklyn and through relentless touring.

Prebish was also splitting his creative time with rising Brooklyn-based dram pop act Barrie and around the same time, his work with the rising dream pop act began to receive attention across the blogosphere and elsewhere through the release of a handful of buzz worthy singles, followed by their full-length debut, last year’s Happy to Be Here. Interestingly while with Barrie, Prebish met his further Psymon Spine bandmate, vocalist and multi-instrumentalist Sabine Holler.

Without live shows and touring, the members of Psymon Spine have been busy releasing new material this year, which included two singles:

  • Milk,” a coquettish, club friendly banger with Barrie that brings In Ghost Colours-era Cut Copy and Soft Metals‘ Lenses and received quite a bit of attention internationally — with the single receiving praise from   VanyalandHigh Clouds, Echowave Magazine, The RevueHype Machine and a list of others.The track also landed on  Spotify playlists like UndercurrentsAll New Indie and Fresh Finds, as well as the YouTube channels of  David Dean BurkhartNice Guys‘ and Birp.fm. And lastly, the track received airplay on BBC Radio 6.
  • Modmed,” an  Andrew VanWyngarden-produced and cowritten, strutting disco-tinged track that’s actually deceptively upbeat, as it captures the ambivalent and confusing mixture of frustration, doubt and relief of a relationship that had long petered out and finally wound down to its inevitable conclusion. Interestingly, the song is inspired and informed by personal experience: Prebish and Holler’s difficult decision to leave Barrie to focus on Pysmon Spine full-time.

Psymon Spine’s third single of this year, is the hazy and lysergic banger “Confusion.” Centered around shimmering synth arpeggios, a wobbling bass line, blown out beats and Prebish’s plaintive vocals, a trippy spoken word-delivered break and a looping guitar solo, Psymon Spine’s latest single brings Tame Impala‘s Currents to mind. Much like its immediate predecessors, “Confusion” continues a run of carefully crafted and breezy, hook driven pop.

Interestingly, the release of the single manages to simultaneously coincide with the announcement of the Brooklyn-based act’s third album Charismatic Megafauna while encapsulating the album’s overall theme and vibe — the complicated feelings involved in the dissolution of human relationships. In particular “Confusion” finds the band channeling the confusing and contradictory feelings following the sort of breakup that has lead to a major rift in the larger social circle — but while also possibly hinting to the end of a friendship or working relationship. And as a result, the song seems to evoke the desire to dance away the hurt, for a little while at least.

Charismatic Megafauna is slated for a February 21, 2021 release through Northern Spy.



New Audio: Philadelphia’s brushstroke Releases a Shimmering and Dusty Bit of Soul

Eoin Murphy is a Philadelphia-based singer/songwriter, multi-instrumentalist and creative mastermind behind the emerging solo recording project brushstroke, which draws from neo-soul, psych pop and alternative R&B.

Murphy’s latest brushstroke single “Freeze” is a sultry, slow-burning, Quiet Storm-inspired track centered around a dusty, lo-fi-like production, shimmering guitars, twinkling keys, a sinuous bass line, the Philadelphia-based singer/songwriter and multi-instrumentalist’s plaintive yet soulful falsetto, blown-out beats and an infectious, radio friendly hook. Sonically, the song manages to bring JOVM mainstays Nick Hakim and Tame Impala to mind, complete with a similar deliberate attention to craft and mood.

New Video: JOVM Mainstay GUM Returns with a DIY Visual for Breezy Yet Yearning “Low to Low”

Carnavon, Australia-born, Fremantle, Australia-based singer/songwriter, multi-instrumentalist and producer Jay Watson is an extremely busy and restlessly creative man: Watson splits his time as a touring member of acclaimed JOVM mainstays Tame Impala and POND. He’s also the creative mastermind the acclaimed solo recording project (and fellow JOVM mainstay act) GUM.

Spinning Top Music released Watson’s fifth GUM album Out In The World earlier this year. The album, which is the highly follow-up to 2018’s critically applauded The Underdog was written and recorded in between tours with Tame Impala and POND continues Watson’s long-held reputation for having a voracious taste for styles, sounds and different eras. Thematically, the album is fueled by the Carnavon-born Fremantle-based artist’s quest to make sense of modern life — with the album’s material being fueled by an untethered curiosity and the inherent anxiety of too much awareness and too much connectedness.

Sonically, Out In The World’s material may arguably be the most boundary pushing of Watson’s growing catalog. “This album is my attempt at making a record that combines my fascination of how other people live their lives, with my own internal desire to analyse mine and improve it,” Watson says of his latest album. “‘Out In The World’ was a phrase that conjured a lot of grandeur and ego, yet somehow felt really small and wholesome at the same time.”

I’ve written about two of the album’s singles:

“Don’t Let It Go Out,” the album’s second single, a track that sees Watson pushing his sound and songwriting in a bold new direction. Centered around a glistening arpeggio guitar riff, jangling acoustic guitar, propulsive four-on-the-floor and shimmering synths, “Don’t Let It Go Out” finds Watson pushing his sound and songwriting in a bold direction while retaining the hook-driven, carefully crated nature quality that GUM fans have loved.
“Airwalkin,” a swaggering 80s synth pop-like banger featuring tweeter and woofer rocking boom bap-like beats, squiggling synths, soaring strings and an enormous hook that sonically seemed indebted to J. Dilla. Odelay-era Beck, Future Shock-era Herbie Hancock and Kraftwerk.

Out In The World’s latest single “Low to Low” finds Watson pushing his sound into a new direction — but while arguably crafting what may be the funkiest song of his catalog. Centered around shuffling polyrhythm, explosive horn stabs, dusty breakbeats, tinny Casio-like synth arpeggios and Watson’s yearning vocals, the track sounds as though Watson had been listening to salsa, Expensive Shit/He Miss Road-era Fela Kuti, 80s New Wave and synth pop the deceptively breezy pop confection actually seems to express a fear of irrelevance and of being forgotten.

“I purchased an EHX DRM15 drum machine and the song developed from one of the preset beats, this ‘robot-latin vive with lots of spring reverb. It was the last song I recorded for the album, it’s bizarre stylistically, but I just went with it,” Watson says of the album’s latest single.

Co-directed with POND bandmate Jamie Terry, the recently released video for “Low to Low” was shot in Fremantle on grainy Super 8 or 16mm film, and the visual captures the sunny warmth of Western Australia — while following Watson walking around with an enormous plastic box. “ My mate Az gave me 16 panels of Perspex he had found, who knows where? GUM thinks outside (and inside) the box,” Watson says of the video. ““Now that the dust has settled on Out In The World,I think this is probably my favourite track from the album, and I know it is for lots of other people too, so I wanted to make a visual for it,” he adds.

Interview: A Q&A with Seattle’s Jupe Jupe

Since their formation back in 2010, the Seattle-based indie electro pop act Jupe Jupe — My Young (vocals, synths), Bryan Manzo (guitar, bass, sax), Patrick Partington (guitar), and Jarrod Arbini (drums, percussion) — have released four albums Invaders, Reduction in Drag, Crooked Kisses,and Lonely Creatures, which have helped to firmly establish the act’s sound: dance floor, synth-led, post-punk informed by synth pop and Americana. 

Jupe Jupe’s Matt Bayles-produced Nightfall EP was released earlier, and the EP continues their ongoing collaboration with Bayles, who also produced and engineered their last full-length album. Meticulously written over the course of the preceeding year, the five song EP finds the band adding soulful saxophone to material that thematically focuses on yearning and desire.

Over the course of this past year, I’ve written about two of the EP’s singles: 

  • The New Order-like “Leave You Lonely.” The accompanying video meshed three different visual styles – line animation, live footage shot in high contrast negative and a lyric video in a way that draws comparisons to  a-ha’s “Take On Me” to mind.
  • The bring Avalon-era Roxy Music-like ‘How Could We Both Be In Love.” Directed by Dirty Sidewalks‘ Erik Foster, the accompanying moody visual seems to draw from French nouvelle vague and 80s MTV.

Earlier this year, I set up an interview with the members of Jupe Jupe to discuss their Nightfall EP, their influences, the videos for the aforementioned “Leave You Lonely” and “How Could Be In Love,” and how they were all getting along during the pandemic in a rather prototypical JOVM Q&A session.  I received the band’s responses a few days after George Floyd’s tragic murder at the hands of Minneapolis police. Understandably, as a Black man, Floyd’s death hit close to home. With police brutaliy, police reform, the Black Lives Matter movement and protests brewing up in major cities across the world, I initially wanted to ask the band a handful of questions related to those particular topics. Unfortunately, those follow-up questions never came up and the Q&A languished in my email inbox for months – without explanation to anyone. 

2020 has been difficult. But with Joe Biden’s and Kamala Harris’ Election Day victory over Donald Trump has given me some hope. We have an incoming administration that will be competent, caring and will do everything in their power to make things right through policy and action. 

In the meantime, check out the EP and the interview below: 

_______________

WRH: Since COVID-19 was declared a pandemic, festivals have been postponed or cancelled outright, artists of all stripes have postponed, rescheduled or cancelled tour dates – and there are a number of artists, who have rescheduled releases of new material. You released a new EP shortly before the pandemic. How has COVID-19 impacted you and your career?

Jupe Jupe: Like so many other bands, we’ve had to cancel quite a few shows following the COVID outbreak. We luckily had our Nightfall EP release show before the lockdowns began, but the only “live” performance we’ve done since February was a live-stream benefit show to help support out-of-work employees at a local club. It was a blast playing again, though we look forward to in-person audiences! We wonder if live streaming will be the norm for bands until next year at least. 

Despite the pandemic situation, the EP still received quite a bit of college-station airplay and press coverage, which we’re happy about. Given the scary times everyone is going through, we’re not sweating the lack of live performances. We’ll just ride it out like everyone else. We also hope that the smaller music venues can survive this—that’s something we’re definitely concerned about.

WRH: How have you been holding up? What have you been doing to keep busy? Binge watching anything?

Patrick Partington: I’ve been holding up OK—lucky to still be working from home. I try limit my newsfeed time during the day—though it’s been difficult lately, of course. As far as binge-watching, I’ve finished Ozark, which I love, and now I’ve moved on to a crime documentary series called Trial by Media. When I need some levity, I go with comedies (series and movies)—Hot Tub Time Machine, Superbad, Stripes, Vice Principals, The Righteous Gemstones, etc.

Jarrod Arbini: It varies from day to day, but I’ve finally gotten around to doing some of those home improvements. After 14 years, the refrigerator ice and water dispenser hookup has finally been accomplished. And I’ve discovered a new love for video games!

So before COVID, say that I decided to fly into Seattle. Where would I go to eat and drink, if I wanted to meet and be around locals?

Bryan Manzo: Seattle is a really fun place to visit. It kind of depends on what you’re into or what you’re looking for. When people visit me I tend to offer lots of restaurants, bars, or clubs, but the thing that people seem the most into is just being outside. It’s really remarkable how green the city is. We have mountains to the east and west. Water, water everywhere and forests so thick they’re dark during the day. It’s like Endor. Honestly, I can’t even believe I’m writing this because I’m not really into that. So for me, I guess I’d say the weed stores.

What’s your favorite venue to see shows in Seattle? Why?

PP: I think my favorite venue for larger shows is The Showbox. It fits around 1100 people, the sound is terrific, and pretty much everywhere you stand is a great spot—whether you want to be right up front or in back watching from one of the venue’s bars, which I usually opt for. 

JA: Yeah, The Showbox for sure.

How did you get into music?

PP: My older brothers were music-heads, and they turned me on to The Beatles, The Kinks, The Who, The Monkees, Led Zeppelin, and lots of 70’s progressive stuff when I was a little kid. Through my teenage years, I was addicted to a small AM station in Seattle called KJET. That’s how I discovered bands like The Cure, XTC, Psychedelic Furs, The Smiths, and tons of other bands you couldn’t hear on regular FM radio in Seattle. When I first learned guitar at 14, I wanted to be like Pete Townshend—windmilling and leaping around.

My Young: My father is a guitarist and came from a family of musicians. He used to play and sing 60’s folk songs and other old hits like “Ghost Riders in the Sky” to us when we were little kids. When I was 12, I started a punk/new-wave band with my pals in Denver called the Bloody Ear Muffs. I’ve been in various bands since then.

JA: There was always music in our house and from an early age, the drums were fascinating to me. Once I was able to join the 5th grade symphonic band, I was hooked. I bought my first drum kit in the 7th grade and found being in a band and sharing my passion for music with like-minded individuals to be so satisfying.

 Who are your influences?

Jupe Jupe:  Our sound tends to be influenced by New Order, Roxy Music, Echo and the Bunnymen, Cut Copy, and a bit of Roy Orbison.

PP: I gravitate toward a lot of British bands from the 80’s—OMD, New Order, and The Cure. Plus hooky 60’s music.

MY:  In addition to the obvious synthpop and post-punk influences, I get inspiration from a larger bag of artists like Jean-Michel Jarre, Kraftwerk, the 90’s WARP catalog, 70’s glam, and 60’s artists like The Kinks, Pink Floyd, Roy Orbison, and The Zombies. And of course, James Bond themes.

JA: Anything with a hook and I’m in!

WRH: Who are you listening to right now?

PP: I’ve been listening to Gorillaz, The Clash, and early Who lately. Wham! and Erasure when I want to be in a good mood quickly. Usually I just shuffle playlists so that I’m surprised. I also listen to First Wave on SiriusXM Radio—I’ve heard all of it, but it’s comforting in these uncertain times.

MY: I’ve been listening to the new Angel Olsen record a lot. I also really like Temples, Tame Impala, Idles, and Charlotte Gainsbourg.

JA: During COVID, I’ve been trying to run more, and for my run mix I’ve recently added The Magic Group, lots of Kaiser Chiefs, The Goldbergs, and some Tame Impala. To take the edge off some of my ongoing periods of anxiety, I’ve actually been turning toward smooth 60’s Motown stuff with the likes of The Temptations and The Four Tops, among others.

WRH: Are there any acts from Seattle that the outside world should know now and doesn’t? Why?

BM: Yes. There’s a band called The NitWitz. They’re 11 and 12 year olds. One of the members is my kid. Another one of the members is My’s kid. Someone please discover them and get them OUT OF MY GARAGE BECAUSE IT’S SO LOUD! Also, they’re kind of funny.

WRH: How would you describe your sound to those unfamiliar with Jupe Jupe?

Jupe Jupe:  We describe our music as dark yet danceable—a “noir cocktail” of crooning vocals over pulsing beats, with guitars and sax that cut across washes of synth.

PP: When people ask me personally what we’re like, I say we try to sound like an updated version of our 80’s new-wave influences.

JA: Definitely a more current take on an 80’s-type vibe. Quite a mixed bag really, but it works!

WRH: Your latest EP, Nightfall continues the band’s ongoing collaboration with Matt Bayles. How has it been to work with him?

Jupe Jupe: Matt’s done an amazing job recording and mixing our last two albums, Nightfall and Lonely Creatures. Though he’s produced many harder bands (Mastadon, He Whose OX Is Gored, Murder City Devils, etc.), he gets our sound completely and we generally don’t have to give him much input, especially when it comes to how he mixes the songs. We bring the tunes in fully written, so that we can get straight into recording. He’s a serious, no-nonsense guy in the studio—and he definitely doesn’t put up with less-than-stellar performances!

WRH: The EP’s material thematically focuses on yearning and desire. How much of the material comes from personal experience – or that from someone you know?

Jupe Jupe: We usually write the lyrics as a group. Though it takes longer this way than it would with one person doing all the heavy lifting, we feel like we end up with stronger material. Everyone’s input is probably based on their own experiences, but we usually don’t go into it with an individual’s specific story in mind (“Hey, this thing happened to me—let’s write a song about it”). We might offer anecdotes that lend themselves to a song, but after the music is written, we pick subject matter that we think will work best with the vibe. For this batch of songs, “yearning and desire” seemed to fit really well!

While much of the EP’s material continues the synth-based, hook-driven sound that has won you attention across the blogosphere and elsewhere, EP single “How Could We Both Be in Love” features the addition of saxophone. It may arguably be the most Avalon-era Roxy Music track of the EP – and it’s one of my favorite off the entire EP. How much did Roxy Music influence it? What’s the song about?

MY: Bryan and I started playing music together in an Austin prog band called Maximum Coherence During Flying, in which Bryan played both guitar and sax. We always wanted to bring it back into our songs, but kept forgetting to do it. For the Nightfall EP, Bryan proposed how it would add a new element to the direction we were already heading in. We’re both huge Roxy Music fans (especially their first four records), and it was exciting and inspiring to bring it back into the mix.

PP: Essentially, that song is about being in a relationship with a narcissist.

How did the videos for “How Could We Both Be in Love” and “Leave You Lonely” come about?

Jupe Jupe: For “How Could We Both Be in Love,” we teamed up with our friend Erik Foster of the great Seattle band, Dirty Sidewalks. He directed our last two videos and he’s always done a spectacular job. We usually start by sending him a rough mix and the lyrics, then discussing some broad ideas over beers. For this video, we really didn’t have to offer any guidance. He’s extremely creative and talented at matching the vibe of the video to the song. He did some great stop-motion and visual effects—he always surprises us. It’s an awesome partnership.


”Leave You Lonely” was created by two of our band members, Bryan and Jarrod, using a combination of hand drawings, still photos, lyric text, and shifting color palettes to capture the movement and feel of the song.

WRH: The band has been together for a decade now, which is an eternity in contemporary music. What do you ascribe to your longevity? What advice, if any do you have for bands trying to make a name for themselves?

PP: We’re all best friends and we’ve worked together in various bands over the past 20 years, so we know each other’s strengths and idiosyncrasies really well. Plus, with that type of history, it’s easier to be honest—as opposed to walking on eggshells with someone you don’t know well. Apart from music, we just like hanging out! 

As far as advice for bands trying to make a name, I’d say figure out your sound, and continue to evolve it! Don’t worry about what’s popular or the next trend. Hopefully you can break through the clutter by sticking to your convictions and continuing to improve as a band. Also, it helps to share band duties—rather than one person doing all the writing, promo, booking, etc. It makes it much more fun and keeps everyone invested. And when you play live, be sure to promote the hell out of every show and make sure the other bands on the bill do too.

JA: I think our longevity is due to the lack of inter-band drama and a shared love of music and playing live. It also helps that everyone brings a different expertise and perspective to the group —outside of the actual music. This really helps us to get through all the less-than-glamorous band duties that come along with being a musician.

What’s next for you?

Jupe Jupe: Bryan and My are currently working on new song ideas individually, and we check in with each other for a “virtual” band happy hour once a week. We’re really just playing things by ear during the pandemic—it’s difficult to make concrete plans right now, but we know for sure we’ll be releasing new music eventually!

Live Footage: Tame Impala Performs “Borderline” on “The Tonight Show Starring Jimmy Fallon”

I’ve managed to spill quite a bit of virtual ink over the course o this site’s ten-plus year history covering Perth, Australia-born and-based singer/songwriter, multi-instrumentalist, producer and JOVM mainstay Kevin Parker, the creative mastermind behind the critically acclaimed and commercially successful psych pop/synth pop project Tame Impala.

Parker’s third Tame Impala album, 2015’s Currents was a critical and commercial breakthrough: released to wide-ranging critical applause across the blogosphere and elsewhere the album was a RIAA Gold-Certified, Grammy-nominated effort that revealed a decided change in direction for Parker’s songwriting and sound, as it featured some of his most emotionally direct lyrics paired with a nuanced and textured sound that drew from and meshed elements of psych rock, psych pop, prog rock, synth pop and R&B.

Released earlier this year, Parker’s fourth Tame Impala effort The Slow Rush continued an impressive and enviable run of critically applauded and commercially material. Thematically the album focuses on the rapid passing of time and life’s innate cycles of creation and destruction — with the material contouring the feeling of a lifetime in a lightning bolt, of major milestones and events whizzing by you, while you swipe away on your phone. “A lot of the songs carry this idea of time passing, of seeing your life flash before your eyes, being able to see clearly your life from this point onwards. I’m being swept by this notion of time passing. There’s something really intoxicating about it,” Parker told the New York Times.

Last night, Parker and his backing band performed one of my favorite songs off the album — the hook driven and blissed out “Borderline” on The Tonight Show Starring Jimmy Fallon.

New Video: Haiku Hands Release a Defiantly Campy and Fierce Visual for “Fashion Model Art”

Last year saw Aussie electro pop act Haiku Hands — Claire Nakazawa, Beatrice Lewis and Mie Nakazawa — embarking on their first ever Stateside tour, which included a series of critically applauded, attention-grabbing sets at SXSW, opening slots for the likes of Japanese punk act CHAI, JOVM mainstays Tame Impala and Sofi Tukker, Chicago-based emcee CupcaKke and footwork producer DJ Taye.

Building upon a rapidly growing national and intentional profile, the Aussie trio’s highly-anticipated, self-titled full-length debut is slated for a September 10, 2020 release through Mad Decent. Recorded primarily in Melbourne with Joel Ma (a.k.a. Joelistics), the Aussie electro pop trio’s self-titled debut further cements the act’s reputation for being rebellious, experimental and wildly unconventional. While featuring collaborations with Sofi Tukker, Mad Zach, Machine Drum, Mirac, Hermitude‘s Elgusto and Lewis CanCut, the album thematically probes technology, relationships and the absurd — with incisive social commentary. “The record explores an attitude of empowerment, humour and positivity whilst also delving into darker themes and expressions,” the members of Haiku Hands explain. “We aimed to be original in our creative choices, we were influenced by multiple genres and artists but were aiming to create something that sounded new and different.” 

“Fashion Model Art,” the self-titled album’s latest single features a collaboration with Sofi Tukker. Centered around twinkling keys, stuttering beats and handclaps, layers of shimmering synths,  and chanted, non-sequiturs, “Fashion Model Art” is a euphoric and  decidedly 80s inspired house music banger that sounds like a brash and mischievous take on Madonna’s “Vogue” and David Bowie‘s “Fashion.”

“The chorus of ‘Fashion Model Art’ was created on the train coming home from the Sydney Biennale,” the Aussie electro pop act explain in press notes. “It was the moment we swapped from being our composed observant art critiques to our boisterous playful selves. We ended up having half the carriage chanting fashion fashion, model model, art art art art on the train.

“This song celebrates the fashion model art character within ourselves. We revel in the hilarious, tense, fun, ridiculous and utmost seriousness of these moments.

Sofi Tukker jumped on this song after we toured with them for a month in the US.

We ask ourselves, what should we do with our hands?”

“We met Haiku Hands on tour in Australia,” Sofi Tukker says in press notes. “After seeing them literally once live, we immediately asked them to go on tour with us. We’ve been good friends ever since. It was so fun working on this track with them. We love how they build in humor and choreography into their music. ”

Directed by Jasmin Tarasin, the recently released video for “Fashion, Model, Art” is a slick synthesis of high fashion, art and of course, fashion models in a way that’s fiercely and defiantly campy, mischievous, pro womxn and pro queer. “Haiku Hands are in fact a wonderful collide of Fashion, Model, Art in the very best way,” Jasmin Tarasin says. “It was so inspiring to be able to play and create with these women in collaboration with our combined creative community . I enjoyed the process so much and feel that the fun and beauty we found is seen on screen. We had the very best time.”

Live Footage: Tame Impala on NPR Tiny Desk (At Home) Concert

Over the course of this site’s 10 year history, I’ve spilled quite a bit of virtual ink covering the Perth, Australia-born and-based singer/songwriter, multi-instrumentalist, producer and JOVM mainstay Kevin Parker, the creative mastermind behind the critically acclaimed and commercially successful psych pop/synth pop project Tame Impala.

Parker’s third Tame Impala album, 2015’s Currents was a critical and commercial breakthrough: released to wide-ranging critical applause across the blogosphere and elsewhere the album was a RIAA Gold-Certified, Grammy-nominated effort that revealed a decided change in direction for Parker’s songwriting and sound, as it featured some of his most emotionally direct lyrics paired with a nuanced and textured sound that drew from and meshed elements of psych rock, psych pop, prog rock, synth pop and R&B.

Released earlier this year, Parker’s fourth Tame Impala effort The Slow Rush continued an impressive and enviable run of critically applauded and commercially material, but unlike its immediate predecessor, the album thematically focuses on the rapid passing of time and life’s infinite cycles of creation and destruction — with the material conjuring the feeling of a lifetime in a lightning bolt, of major milestones and events whizzing by you while you’re staring at your phone. “A lot of the songs carry this idea of time passing, of seeing your life flash before your eyes, being able to see clearly your life from this point onwards. I’m being swept by this notion of time passing. There’s something really intoxicating about it,” Parker told the New York Times.

I’ve manged to write about five of The Slow Rush’s singles — the upbeat “Patience,” which seamlessly bridged ’90s house and ’70s funk while being a meditation on the cycles and phrases of life; “Borderline,” a hook-driven, blissed out track with house music flourishes; “It Might Be Time,”a swaggering prog rock meets psych pop anthem featuring shimmering synth arpeggios, thumping beats and an enormous hook; “Lost in Yesterday,” a woozy and lysergic, disco-tinged banger that explored time’s distorting effect on perspective and memories; and “Is It True,” which continued a run of swooning yet dance floor friendly material that focused on the impermanence and confusion of love and the countless paths our lives can take with just one single decision. 

Recently, Parker was invited to do a NPR Tiny Desk (Home) Concert. By default, the presentation of Parker’s music different than what you made expect: in the studio, Parker writes, performs and records all the instrumental and programming parts of his material — and live, he has a insanely talented collection of touring musicians, who interpret the material. For his Tiny Desk (Home) Concert, Parker, got his longtime collaborator Jay Watson and Dom Simper to do an electronic jam with a shit ton of electronic gear, including samplers, sequencers and mixers and some instruments. “I’ve wanted to do something like this for a while and thought Tiny Desk would be the opportunity to do it,” Parker told NPR’s Bobby Carter. 

So for this live session Paker, Watson and Simper performed the album’s more synth-based material “Breathe Deeper,”and the aforementioned “Is It True” and “Patience.” Interestingly, the NPR Tiny Desk session is a seamless synthesis of the live and studio approaches that manages to be faithful to the album’s material while giving it a free-flowing jam-like feel. 

New Video: Maltese Indie Act Beesqueeze Releases a Trippy and Summery Anthem

Beesqueeze is a Siggiewi, Malta-based duo, comprised of Kriz Zahra (guitar, bass, synth, vocals) and Chris Mallia (drums, vocals, guitar, effects) that specializes in what they’ve dubbed alterdelic (alternative + psychedelic) dance rock, influenced by The Strokes, MGMT, Tame Impala, Gorillaz and Pixies among others. And with their debut EP, 2017’s Crowd Control, the duo quickly established their unique sound, as well as a reputation for an explosive live show. 

The band is currently holed up in their small home studio working on their full-length debut, which is slated for an Autumn 2020 release. In the meantime, the Maltese duo’s latest single, the David Vella co-produced “Say You Do” is breezy and anthemic track centered around propulsive synth arpeggios, thumping kick drum, strummed acoustic guitar, a blazing guitar solo, and breathily delivered vocals. And while being a summery, dance floor friendly track that reveals the duo’s unerring knack to craft an infectious hook reminiscent of Evil Heat-era Primal Scream, the song encourages the listener to be bold and express their desires. By doing so, you may actually get what you want you want and need. 

“I do some work in a cool friendly bar and many times I get newcomers asking me to do a special drink or cocktail or something that’s not on the menu so I usually say ‘yes.’ I go head getting this [drink] together, now this always happens: I can notice one of the regulars staring at me, giving the look, like [they’re’] trying to say ,’Hey, what’s that. That’s new! I want it!’ but says nothing. So then I’m like ‘Hey due, if you want one, just say you want one, it’s okay,” the band’s Chris Mallia says of the song’s inspiration. 

“The song came together fast. We were preparing for a small show and I thought this new synth I got off a friend on the same day just for fun. Chris was on guitar going through these chords and I just plugged in the synth, and it happened like that,” Kriz Zahra says of the song’s creative process. “10 minuets later, we were listening to it on this lo-fi recording and we thought it was good. So we recorded it a few days later. I remember it was a quick and smooth process, just how we like it.” 

Directed by the members of Besqueeze, the recently released video features the band performing the song in front of bright, neon colored backgrounds and trippy effects — and as a result, the video captures the band’s energy and the song’s overall lysergic feel. 

New Video: JOVM Mainstay Tame Impala Releases a Lysergic Visual for “Is It True”

Over the course of this site’s 10 year history, I’ve spilled quite a bit of virtual ink covering the Perth, Australia-born and-based singer/songwriter, multi-instrumentalist, producer and JOVM mainstay Kevin Parker, the creative mastermind behind the critically acclaimed and commercially successful psych pop/synth pop project Tame Impala.

Parker’s third Tame Impala album, 2015’s Currents was a critical and commercial breakthrough: released to wide-ranging critical applause across the blogosphere and elsewhere the album was a RIAA Gold-Certified, Grammy-nominated effort that revealed a decided change in direction for Parker’s songwriting and sound, as it featured some of his most emotionally direct lyrics paired with a nuanced and textured sound that drew from and meshed elements of psych rock, psych pop, prog rock, synth pop and R&B.

Released earlier this year, Parker’s fourth Tame Impala effort The Slow Rush continued an impressive and enviable run of critically applauded and commercially material, but unlike its immediate predecessor, the album thematically focuses on the rapid passing of time and life’s infinite cycles of creation and destruction — with the material conjuring the feeling of a lifetime in a lightning bolt, of major milestones and events whizzing by you while you’re staring at your phone. “A lot of the songs carry this idea of time passing, of seeing your life flash before your eyes, being able to see clearly your life from this point onwards. I’m being swept by this notion of time passing. There’s something really intoxicating about it,” Parker told the New York Times.

I’ve managed to write about four of the album’s previous release singles — the upbeat “Patience,” a single which seamlessly bridged ’90s house and ’70s funk while being a meditation on the cycles and phrases of life; “Borderline,” a hook-driven, blissed out track with house music flourishes; It Might Be Time,”a swaggering prog rock meets psych pop anthem featuring shimmering synth arpeggios, thumping beats and an enormous hook; and “Lost in Yesterday,” a woozy and lysergic, disco-tinged banger that explored time’s distorting effect on perspective and memories that suggested that given enough time, nostalgia gives even the most embittering times in your life, a rosy tinge and a sense of purpose and meaning that may not have actually existed.

The Slow Rush’s fifth and latest single “Is It True” continues a run of swooning yet dance floor friendly material featuring handclap led percussion, synth arpeggios, Parker’s plaintive falsetto an enormous hook and a shimmering and dreamy bridge held together by a sinuous bass line. And while dance floor friendly, the track focuses on the seeming impermanence and confusion of love, and the countless paths our lives can take with just one single decision. In the song’s case, the decision is whether or not its narrator tells an object of affection how he feels for her — with the understanding that whatever happens will be life altering.

The recently released video for “Is It True” features Parker on a TV screen singing the song and rocking out to it — in front of flashing and rapidly morphing background and trippy lighting effects. At one point we see Parker laying in grassy, technicolor field, adding to the overall lysergic feel.