Tag: video

New VIdeo: Paris’ Fleur bleu.e Releases a Lo-Fi and Trippy Visual for Shimmering “STOLT 89”

Deriving their name from a French expression that gently mocks sappy lovers, the Paris-based indie rock duo Fleur bleu.e — Delphine and Vladimir — features two accomplished musicians, who have been performing and writing music since they were both children: Vladimir was a guitarist in French garage rock band Brats, an act that recorded and released a Yarol Popouard-produced album that was supported with touring across France with BB Brunes. Delphine began playing cello in classical orchestras before learning guitar and playing at alternative festivals across Paris with her first band Le Studio Jaune.

When the duo met in 2019, they bonded over a mutual love of The Smiths, Beach House, Françoise Hardy and Elli et Jacno among others, and a desire to craft music that was emotionally ambiguous while being fueled by their teenage myths. Seemingly influenced by dramas and nightmares, their artistic vision is to go beyond the prism of the gender binary and call upon the listener to express their fragility, celebrating one’s inner world and the beauty in imperfections.

They released their critically applauded single “Horizon” late last year and building upon a buzz worthy profile in their native France, the duo released their Ben Etter-produced second single “STOLT 89” earlier this month. Centered around shimmering and reverb-drenched guitars, propulsive yet simple backbeat and Delphine’s gorgeous vocals, the song sonically — to my ears, at least — brings Bloom-era Beach House to mind while being an emotionally ambiguous feminist manifesto. 

The recently released video for “STOLT 89” employs a decidedly DIY aesthetic that features the duo goofing off in front of a green screen — and throughout, the video has a blown-out, fuzzy quality reminiscent of public access TV

New Video: Art d’Ecco Releases a Stylish and Noir-ish Visual for Anthemic “Desires”

The mysterious and enigmatic British Columbia-based singer/songwriter now known as Art d’Ecco is a grizzled Vancouver music scene vet, who once played in a band with acclaimed producer and ACTORS frontman Jason Corbett; but in 2018 he emerged as a dark bobbed hair wearing, androgynous and charismatic glam rocker with the release of that year’s critically applauded, full-length debut Trespasser. 

Since the release of Trespasser, the Canadian art rocker has played a live session for Seattle’s KEXP and played more than 75 clubs and music festivals across North America. Last spring, d’Ecco opened for acclaimed UK-based psych rock act Temples right before the pandemic struck. “Trespasser was the start of a two-year ride taking me to all sorts of places I’d never been to,” the acclaimed British Columbia-based singer/songwriter says in press notes. “Seeing how different cultures interact with entertainment was the genesis for In Standard Definition. A lot of this record was actually written on the road late at night in motel rooms – with the flickering light of a television in the background.”

Slated for an April 23, 2021 release through  Paper Bag Records, the Colin Stewart-produced In Standard Definition was recorded on two-inch tape with a handpicked, rotating cast of musicians that featured jazz and blues-trained horn players, Victoria Symphony Orchestra string players, soul singers and his backing band on a 50 year old console at The Hive. Sonically, the album will reportedly find the acclaimed Canadian art rocker further establishing a sound that some critics have described as neo-glam. But interestingly enough, the album’s overall sound and aesthetic pushes the boundaries of glam rock, as it draws draws from a diverse and eclectic array of influences including elements of 50s pop, psychedelia, Velvet Underground-like art rock, Grimes-inspired electronics, Ziggy Stardust-era Bowie and Brian Eno among others. “I’m obsessed with tape, film, and sounds of yesteryear, so recording could only be analogue – in standard definition – the way entertainment was once created,” d’Ecco explains. “I wanted to go back in time, exist in a different era and breathe my creativity through it.”

Thematically, the album holds up a mirror to pop culture and explores our obsessions with entertainment and celebrity. “No matter where you live or what language you speak, there’s an entertainment god for you,” d’Ecco explains in press notes. “Whether on TV or writing the books you read, it’s an odd sense of purpose we allocate to these humans whose talent is in distracting us from the doldrums of daily life. We’re constantly searching for something… glued to our phones… consuming various forms of entertainment. We feel less close with each other, and closer to the strangers who make us feel good.”

So far, throughout the year I’ve written about three of In Standard Definition‘s previously released singles: 

“TV God,” a synthesis of ’77 punk, Ziggie Stardust-era Bowie and Pleasure Principle-era Gary Numan, centered around anthemic hooks, twinkling piano stabs, punchily delivered lyrics, soulful backing vocals, propulsive bass lines, a scorching guitar solo and squiggling synths. 
“Head Rush” an infectious boogie that owes a sonic debt to Ziggy Stardust-era Bowie, complete with an enormous horn line and glistening synths. 
“I Am The Dance Floor,” a shimmering and strutting disco take on glam rock that may remind some of Bay City Rollers “Saturday Night,” Echoes-era The Rapture and In Ghost Colours-era Cut Copy. 

In Standard Definition’s latest single “Desires” is a jangling, densely layered, glam rock anthem centered around rousingly anthemic hooks, blasts of twinkling synth arpeggios, soulful horn blasts, an angular bass line, strummed rhythm guitar and shimmering guitar solos and punchily delivered vocals. Sonically, the song is a slick synthesis of Ziggy Stardust-era Bowie, Gary Numan and The Cars — all while being carefully crafted. “A tale born inside the dark underbelly of old Hollywood, then repackaged and reimagined as a rock and roll tragedy,” d’Ecco explains. “’Desires’ is about the entertainer at the end of their career — soon to be phased out by the next wave of rising talent, and shifting audience tastes. For the old guard, this spectre of change is a constant existential threat that will challenge their ability to keep up with the times and to remain relevant in this brutal industry of show business.”

Directed and edited by Brandon William Fletcher, the recently released video for “Desires” is a stylistically shot, noir-is black and white visual that features d’Ecco and his backing band performing the song — but underneath the stylish surface, there’s this sense of an artist fearful of being phased out by an indifferent and bored audience and industry. Certainly, as you get older in an industry that often values beauty and youth before wisdom and experience, those fears become increasingly real — and the desire to be relevant more desperate.

Throwback: R.I.P. DMX

I was drinking coffee, chatting with mom and watching NY1 when we both heard the news of DMX’s tragic death at 50. As an artist, DMX had unparalleled success: he’s the few artists of any genre to have his first five albums debut at #1 on the Billboard 200 — and one of the few artists, who can claim two #1 albums on the Billboard charts in the same calendar year. Paraphrasing DMX, he locked down the industry on some ol’ power shit.

If you’re a hip-hop head, you know all the songs and you know about the man’s troubled backstory. My hope is that within the hip-hop community and within the Black community that we can start having serious conversations about how abuse, mental illness and addiction reverberate and impact everyone around us. If we love Earl Simmons, we need to do what we can to save the countless other Earl Simmons out there.

My heart aches for poor Earl and his family. And I also hope that we can wrap them up in the love that we have for DMX in their time of need.

In the meantime, DMX’s music has meant a lot to me — and to countless other fans. We love you Earl. And we’re going to miss you.

Live Footage: Orions Belte Performs “Lotus” at Mulakamben Norway

Norwegian-born musicians Øyind Blomstrøm (guitar) and Chris Holm (bass) have spent the bulk of their careers making a living a touring musicians, and as a result, they’ve frequently been on the road As the story goes, when Blømstrøm and Holm’s paths crossed for what seemed like the umpteenth time, they bonded over a desire to create instrumental music — and they decided to start a band together. They recruited Holm’s Bergen scene pal Kim Åge Furuhaug to join the band and to complete Orions Belte lineup. 

With the release of 2018’s Mint, the Norwegian trio quickly established a reputation for crating a genre-defying, style-mashing sound that draws from 70s Nigerian rock, postcards from French Riviera, Formula One traces at Monza and 1971’s “Fight of the Century” between Joe Frazier and Muhammad Ali. It’s follow-up, 2019’s Slim EPfeatured inventive reworkings of songs they love by artist’s they love — including Ghostface Killah‘s “Cherchez La Ghost,” Milton Nascimento‘s Tudo O Que Você Podia Ser” and an original cut that pays homage to Norwegian beat group The Pussycats and the Mac Miller. 

Amidst the chaos and uncertainty of last year, the acclaimed Norwegian trio managed to be productive: they released 600m, another EP of experimental instrumental music that derived its title from the name of an elevator in Tokyo that can transport 40 people at a time a maximum speed of 600 meters per minute, and found the trio continuing to push the boundaries of instrumental music as far as they could. 

Continuing upon that momentum, Orions Belte’s sophomore album Villa Amorini is slated for a Friday release through Jansen Records. The album derives its name from a popular Bergen nightclub, which was the place in town where everything happened — and where you needed to be a part of it. Originally opened in the ’80s as a fine dining spot, the business eventually evolved into an extravagant nightclub where you’d see artists and DJs in loud t-shirts and oversized sunglasses. Sonically, the album is reportedly a mix of the sounds the trio likes, including underground pop, psych and world music, while continuing their reputation for their unique ability to pull in listeners of diverse genres and styles in a fashion that’s simultaneously calm and chaotic. And with that in mind, it shouldn’t be surprising that the album’s material manages to set up a particular scene: the energy of a busy downtown sidewalk with the instrumentation being intricately layered to draw you in and leave you wondering where it will lead. According to the trio, the album is a “homage to an era of loud music, club nights, ugly shirts and long afterparties.” 

Much like album single “Mouth,” ‘Lotus” is a laid-back, hotel lounge-like bop centered around a strutting groove, shimmering guitar, a sinuous bass line and hip-hop inspired drumming. Sonically “Lotus” is a slick synthesis of dusty J. Dilla-like samples, funk and neo soul in a way that feels familiar yet alien.

The band released live footage of themselves performing the song in the gorgeous environs of Mulakamben, Norway.

New Video: Yelle Serves Up Looks in Sultry and Campy Visual for “Noir”

Acclaimed French electro pop act Yelle — Julie “Yelle” Budet (vocals) and Jean-François “GrandMarnier” Perrier (production, percussion) can trace their collaboration back to around 2000 when Budet and Perrier first met and became friends. But the duo didn’t start working on music together until 2005. Initially formed under the name YEL, an acronym for the phrase “You Enjoy Life,” the duo learned of a Belgian band with the same name, and were forced to change their name, eventually feminizing their original name to “Yelle.”

The duo quickly received attention when they posted a song they originally titled “Short Dick Cuizi,” which originally was a written as a mock diss track that referred to Cuiziner of acclaimed French hip-hop act TTC. The song eventually became “Je veux te voir,” which charted at #4 in their native France, and as a result of the buzz surrounding them, they caught the attention of Source Etc Records, who then signed the act. Interestingly, around the same time that the duo had started working on their full-length Perrier met the band’s now-former third member Destable, who at the time was working full-time as a journalist. As the story went, Baudet and Perrier were desperate for a touring keyboardist to flesh out their live sound, and they somehow managed to rope Destable into joining the band.

2007’s full-length debut Pop Up was released to widespread critical acclaim and was a commercial success as a result of “A cause des garçons,” which landed at #11 on the French Singles Chart and “Parle a ma main,” a collaboration with Fatal Bazooka that landed at number 1. Building upon a growing international profile, Baudet, Perrier and Destable spent a three year period between 2006-2009 touring to support Pop Up — with the band being named as MTV‘s Artist of the Week during the last week of March, 2008.

After taking a few months off, the members of Yelle returned to the studio to began work on their sophomore album, and by February 2010 they started their own label Recreation Center, headed by Perrier. Yelle’s sophomore album, 2011’s Safari Disco Club found the act focusing on harmonies, melodies and Budet’s vocals, and was released to generally positive reviews — including  The Independent, who wrote that the album was “essential for anyone, who appreciates dancefloor-friendly European synth pop.” The album caught the attention of Katy Perry, who invited the act to open for her during the British leg of her  California Dreams tour. After they completed that tour, they went on a European tour and went on a Stateside tour that fall. 

The French electro pop act’s third album, 2014’s Completement fou was co-produced by Dr. Luke and a team of producers that included Kojak, AC, Billboard Mat, Oliver, Cirkut, Mike and Madmax. Dr. Luke learned about Yelle through their remix of Katy Perry’s “Hot n Cold” — and after catching them live, he signed them to his label. The album was supported by extensive international touring, which included their third stop at Coachella, an extremely rare feat for a Francophone act, as well as tours across Europe, South American and China.

The acclaimed French act’s fourth album  L’Ère du Verseau (The Age of Aquarius) was released last September — and much like countless acts across the globe, Baudet and Perrier were gearing up for extensive touring to support the album, and to celebrate their 15th year together. In lieu of touring, the band released incredible visuals for album singles “Je t’aime encore” and “Vue d’en Face,” a breezy yet melancholy track centered around shimmering synth arpeggios, finger snaps, stuttering beats and Budet’s ethereal and achingly plaintive vocals.

L’Ere du Verseau’s latest single “Noir” is a dance floor friendly bop centered around thumping beats, shimmering synth arpeggios, funky bass line and Baudet’s sassy delivery. Interestingly, the song is meant to inspire the listener to strut like they’re on the catwalk, serving fools looks — hard.

Directed by Giant, the recently released video for “Noir” is a campy and fierce as fuck take on haute couture that features beautiful people serving up looks with fierceness while looking like behind the scenes footage of a photo shoot.

New Video: JOVM Mainstays Kælan Mikla Release a Breathtaking Visual for Brooding “Sólstöður”

2018 was a breakthrough year for the Reykjavik-based post-punk/industrial trio Kælan Mikla: The trio —  Sólveig Matthildur,  Margrét Rósa, and Laufey Soffía — were championed by the The Cure’s Robert Smith, who handpicked the band to open for them on several festival stops in the UK and the US. They also played a set at the Roadburn Festival and they toured with King Dude — before the release of their third album Nótt eftir nott. 

The album featured three singles that I had written about at the time:

“Nornalagið,” a chilly, dance floor friendly track, centered around a motorik groove that managed to evoke a brewing storm rolling across enormous skies.
“Næturblóm,” which to my ears found the trio channeling Siouxsie and the Banshees and the classic 4AD Records sound simultaneously.
“Hvernig kemst ég upp,” a brooding and industrial-leaning track that to my years would draw comparisons to early Depeche Mode and New Order.

The trio supported the album with a lengthy Stateside tour that included an a Reykjavik Calling showcase at Brooklyn Brewery with Icelandic metal act Sólstafir. Since then, the trio have been busy writing and recording material for their Barði Jóhannsson-produced fourth album, which is slated for release through Artoffact Records this fall.

“Sólstöður,” is the first bit of new material from the Icelandic trio in three years — and offers fans a taste of what to expect of the fourth album. “Sólstöður,” is a brooding and cinematic track, featuring droning and shimmering synths, nightmarish screams in the background and an ethereal and gorgeous vocal melody. Sonically speaking, the track evokes the soundtrack of horror films — those centered around witches and demons slinking out in the night for rituals involving some sort of brutal human sacrifice. “’Sólstöður’ is an ode to the darkest night of the year, when witches summon winter spirits in the frozen vastness of Icelandic landscapes,” the members of the Icelandic trio explain in press notes. “The song represents the strength of unity, Kælan Mikla in its truest form, fueled by the power of harsh and raw nature.”

Directed by Pola Maria, the breathtakingly beautiful visual for “Sólstöður” features the trio as black-clad witch-types brandishing swords, challis and other objects while seemingly performing obscure rituals among the majestic landscapes and brooding skies of their homeland. Naturally, many of these rituals seem to tie into the longest night of the year.

New Video: Montreal-based Duo Jitensha Release a Playful Visual for Breezy Yet Existential New Single

Deriving their name from the Japanese word for bicycle, the rising Montreal-based husband-wife indie rock/indie pop duo Jitensha — multi-instrumentalists and vocalists Erin Rose Hubbard and David Martinez — can trace their the origins of their romantic relationship and their creative collaboration to how the duo initially met: avid bicyclists, who were both studying Japanese at the time.  “Jitensha just really seemed to fit us and since then has served as our life motto … the direction you choose, and the energy you put in, determines where you end up,” the duo explain in press notes.”

The Montreal-based duo’s latest single “Sojourn” seemingly draws thematic influence from a famous Albert Einstein quote: “Each of us is here for a brief sojourn for what purpose, he knows not, though he sometimes senses it.” Centered around shimmering guitars, atmospheric synths, propulsive drumming, an infectious and summery groove and the duo’s dueling boy-girl harmonizing, “Sojourn” is deceptively infectious and breezy song that is part dream pop, part indie pop, part indie rock. The hook-driven song finds the duo lyrically asking the existential questions that have given many of us anxiety and countless sleepless nights: Why are we here? What’s the purpose of this? What gives any of this meaning? What if the universe is indifferent to us? What happens to us after we die? The song’s hook “Hey ça va bien aller” (It’s going to be okay) is a partially ironic and partially earnest play on the sunny slogan used in Montreal during the pandemic.

As the rising Montreal-based duo explain, the song is inspired by the tragic deaths of a newlywed couple that Hubbard and Martinez had been friends with: “Friends of ours, a newly wedded couple, died in a motorcycle accident. They had been so young and so in love, full of smiles, laughter and gumption. They both lived life to the fullest and we thought the best way to honour and remember them is to try and do the same.” The duo add “”This single is the beginning of a new sound for Jitensha. We are delving further into the contemplative, and into the misty space between optimism and realism, where things are often darker but can be clearer.”

Directed by Richard and Stephanie Bastarache, the recently released video for “Sojourn” features the married duo wearing all white playing with contrast, shadows and color, honing in on the juxtaposition between the song’s breezy arrangement and existential-leaning lyrics. Towards the end of the video, the duo have on bright, vibrantly colored clothing, which may suggest that things will wind up being okay.

The Montreal-based duo will be releasing new singles throughout the rest of the year, and are hoping to release an album sometime later on.

Live Footage: S.G. Goodman Performs “Space and Time” at FAME Studios with Spooner Oldham

Murray, KY-based singer/songwriter and guitarist S.G. Goodman was born and raised in a strict, church-going family of row crop farmers, near the Mississippi River. Goodman went from singing and playing in her local church three times a week to becoming a prominent member of her hometown’s art and music scene, as well as an impassioned voice and presence in the various sociopolitical movements she supports.

Goodman’s Jim James-produced full-length debut Old Time Feeling was released through Verve Forecast Records last year. Recorded at Louisville, KY-based La La Land Studio, because it featured three of Goodman’s favorite things — “a creek, a big porch and a kitchen” — the Old Time Feeling sessions were imbued with a down home, familial and community touch: in between the recording sessions, Goodman cooked meals for the studio staff and her backing band, which features her lifelong friends Matthew David Rowan (guitar) and S. Knox Montgomery (drums.) 

The album is a brutally honest and loving look at the complexities of rural Southern life that debunks rural stereotypes while drawing from Goodman’s personal experiences as an openly gay woman with OCD in a deeply religious and close-knit community. Thematically, the album touches upon things like estrangement and reconciliation, and living your family and community despite the fact that you may completely disagree with them on political and social issues.

I’m going to tell you a bit of an unsurprising secret: I often get advanced streams of artist’s albums and songs. Goodman’s publicist sent me an advanced stream of Old Time Feeling before her first New York area show, and I was immediately enthralled by album single “Space and Time,” a gorgeous track full of heartbreaking yearning that reminded me quite a bit of Patsy Cline. And I absolutely adore Patsy Cline. (I once bonded with an ex girlfriend’s mother because of my love of Patsy. Seriously y’all.)

The JOVM mainstay recently released a live performance video of “Space and Time” featuring legendary session player and Rock ‘n’ Roll Hall of Famer Spooner Oldham (keys) filmed at the legendary FAME Recording Studio, a studio famously known for hosting the recording sessions for artists like Aretha Franklin, Etta James, Wilson Pickett and Otis Redding. Featuring a stripped down to the bone arrangement of Goodman’s aching vocal and Oldham’s shimmering keys, the FAME Studio session makes the song feel like an old church hymn while pulling the heartache and longing at the center of the song, devastatingly closer.

“The highlight of getting to play one of my songs with a living legend came at the end of the night,” the JOVM mainstay says of her time at FAME Recording Studio. “The boys and I were about to make the trek back to Kentucky from Alabama, and Spooner stopped me to give me his number in case I had any trouble on the road. That told me everything I needed to know about him. ‘Call ol’ Spooner’ the note said.”

New Video: Robert Finley’s Strutting and Soulful “Country Boy”

67 year-old, Winnsboro, LA-born, Bernice, LA-based singer/songwriter Robert Finley was born into a family of sharecroppers, and was one of eight children. As a child, a young Finley was unable to regularly attend school and often worked with his family in the cotton fields. When he was a teenager, he attended a segregated school, but dropped out in the 10th grade to help financially support his family and himself.

Finley is an army veteran and was a skilled carpenter, who has lived a full, complicated and often messy life: he’s survived house fires, a bad auto accident and a divorce. Sadly, Finley lost his sight in his 60s as a result of glaucoma, and although he was forced to retire, the Winnsboro-born, Bernice-based singer/songwriter realized that he had an opportunity to pursue his lifelong dream of becoming a musician. Finley believes that his sight was improved by the power of prayer and his faith has also helped him focus on launching a music career in his 60s. According to Finley “losing my sight, gave me the perspective to see my true identity.”

Robert Finley’s rise has been rapid: As the story goes, Dan Auerbach immediately saw Finley’s potential, quickly proclaiming that the Louisiana-born and-based artist is “the greatest living soul singer.” He walked in like he was straight out of the swamp.” Auerbach recalls in press notes, adding, “He had leather pants, snakeskin boots, a big Country & Western belt buckle, a leather cowboy hat and a three-quarter-length leather duster. The final touch was the folding cane the legally blind Finley wore on his hip, in a holster. Basically, he was dressed for national television.” 

Auerbach went on to produce Finley’s 2017 breakthrough sophomore album Goin’ Platinum, an album released to widespread critical acclaim from the likes of the Associated Press, who praised Finley’s ability to lend “instant credibility to any song” and The Observer, who wrote “Finley’s versatile voice ranges from prime Motown holler to heartbroken falsetto croon.” The Louisiana-born and-based singer/songwriter went on to support the album with tours of 10 countries — with his live show drawing praise from a number of publications, including The New York Times and several others. Finley was also profiled on PBS NewsHour, which led him to becoming a contestant on the 2019 season of America’s Got Talent, eventually reaching the semi-finals.

Finley’s third album Sharecropper’s Son is slated for a May 21, 2021 release through Easy Eye Sound. The album, continues the Louisiana-born and-based singer/songwriter’s successful collaboration with Auerbach and features songwriting from Finley, Auerbach, Bobby Wood and Pat McLaughlin and an an All-Star backing band that includes Auerbach (guitar); Kenny Brown (guitar), a member of R.L Burnside’s backing band; studio legends Russ Pahl (pedal steel) and Louisiana-born, Nashville-based Billy Sanford (guitar); Bobby Wood (keys and as previously mentioned songwriting); Gene Chrisman (drums), who’s a Memphis and Nashville music legend; as well as contributions The Dap Kings’ Nick Movshon (bass), Eric Deaton (guitar); Dave Roe (bass), who was member of Johnny Cash’s backing band; Sam Bacco (percussion) and a full horn section.

Sharecropper’s Son may arguably be the most personal album of Finley’s growing catalog, drawing directly from his life and experience. “I was ready to tell my story, and Dan and his guys knew me so well by then that they knew it almost like I do, so they had my back all the way,” Finley says in press notes. “Working in the cotton fields wasn’t a pleasant place to be, but it was part of my life. I went from the cotton fields to Beverly Hills. We stayed in the neighborhood most of our childhood. It wasn’t really all that safe to be out by yourself. One of the things I love about music is that, when I was a boy growing up in the South, nobody wanted to hear what I had to say or what I thought about anything. But when I started putting it in songs, people listened.”

The album’s latest single “Country Boy” is a swampy and funky bit of country soul, centered around a tight, strutting groove, bluesy guitar licks, shimmering organ and Finley’s soulful and creaky falsetto. The song’s autobiographical lyrics were improvised on the spot with the tape rolling and the band setting up the song’s sultry groove. “When we play live, I always leave room in the show for lyrics I make up on the spot while the band hits a groove,” Finley explains. “I guess the younger generation calls it free-styling, but for me, it’s just speaking from my mind, straight from my soul.” While the lyrics hit upon classic blues fare such as heartbreak, loneliness, being broke, being a stranger far away from home and so on, the song is informed by lived-in personal experience: Finely has been that poor, country boy, moving far from home and busting his ass to make a better life for himself — to be broke, lonely and desperate, and longing for his beloved home. For me, the end result is a song that aims to be timeless in its sound, feel and themes and manages to hit every single mark with a heartfelt sincerity.

Directed by Tim Hardman, the recently released video for “Country Boy” was filmed in Finely’s birthplace of WInnsboro, where his family worked and lived as sharecroppers in the Jim Crow era South. While featuring an incredibly dapper and badass Finley strutting and dancing to the song and playing in a small, divey blues joint, the visual is also a gorgeously shot slice of daily life in America’s small towns.

New Video: Violent Vickie Releases a Dark and Seductive Visual for Club Friendly “CIrcle Square”

Rising Los Angeles-based coldwave/darkwave/dark synth-riot act Violent Vickie — Vickie (vocals, production) and E (guitar, production) — have released material through Crunch Pod, Emerald & Doreen Recordings, Riot Grrl Berlin and LoveCraft Bar, which the act has supported with tours with Atari Teenage Riot’s Hanin Elias, The Vanishing’s Jessie Evans, Trans X, Them Are Us Too, Aimon & The Missing Persons. Additionally, the Los Angeles-based duo has played sets across the Stateside and European Festival circuits with stops at Insted Fest, Solidarity Fest, Shoutback Fest and Gay Prides and Ladyfests.

“The Wolf” was featured in a National Organization for Women film and she was interviewed for the documentary GRRL as part of the museum exhibit Alien She. And adding to a growing profile, Monster Alley was voted best album by KALX. Violent Vickie’s latest album Division was released last September through Crunch Pod.

Division’s latest single “Circle Square” is a dark, brooding, dance floor friendly bit of coldwave/goth-inspired techno centered around industrial clang and clatter, a relentless motorik groove, arpeggiated synths and Vickie’s achingly forlorn vocals ethereally floating over the murky mix. Sonically drawing from the dark techno songs that Vickie used to party to in Oakland warehouse parties, the track as the duo explains thematically and conceptually “is an exploration of the illusion of not belonging.”

Directed by Ex Corpse Art Collective’s AJ Strout, the recently released video for “Circle Square” was shot with the PhotoBooth app on Vickie’s computer during pandemic-related lockdowns and restrictions. And while being made around a decidedly DIY ethos, the video employs the murky and trippy aesthetic that Strout has presented at goth clubs across Los Angeles.