Each week, Moritz Gayard rounds up the best new music videos so you don’t have to.
Welcome back to the house of music videos. This week we’ve quite a selection ready for your eyes & ears. You can try the latest bass-manipulation with beloved OM UNIT, take a trip with Egyptrixx into his fierce soundscapes, join the last train to electropop with Little Boots, explore Nico Jaar’s latest drop under his Darkside umbrella or watch an unhappy Azealia Banks in her latest collaborative video with Pharrell. No matter which alley is yours, have fun and stay open-minded.
#1 Om Unit feat. Jinadu – “The Silence”, directed by Tim Fox
#2 Egyptrixx – “Ax//s”, directed by Andreas Nicolas Fischer
Nice teaser for his upcoming album, A/B Til Infinity. BTW,this is the first musical sign of the Canadian since the release of his debut album Bible Eyes from 2011. Night Slugs drops the new EP next month.
#3 Omar Souleyman – “Warni Warni”, directed by Cali Thornhill DeWitt
Back in the day, I adored OS and once met him for some tea and an unforgettable chat. Now he’s signed to Domino and Four Tet produced his album. Which, honestly, feels like a Western takeover on these fresh East-Syrian sounds. Anyway, the track above is killer and sounds like Four Tet wasn’t in the room while recording.
#4 Little Boots – “Shake”, directed by Delaney Bishop
Ballet dancers meet hexapods: nice comparison and contrast in this new Little Boots video here between mechanized and human movement, though. Also, this is what you call warm and gentle electropop.
#5 DARKSIDE – “Metatron”, directed by Fernando Vallejo
Cool and unofficial video for “Metatron” from the new Nicolas Jaar and Dave Harrington collaboration, DARKSIDE. Video follows around a crew of skateboarders, showing love triangles, skate tricks, and more.
#6 Daedelus – “Tiptoes”, directed by Michael Wingate
LA veteran beatmaker Daedelus did it again. Dive into his digital voyage that takes you through some 3D renderings to finally enter some sort of next level shit.
#7 The Neighbourhood – “Afraid”, directed by ENDS
Cool black and white video for up-and-coming Los Angeles band The Neighbourhood, who has been steadily gaining traction on the strength of their hit single “Sweater Weather”.
#8 Disclosure – “You & Me” (Flume Remix), directed by Toby Pike
Are you into kissing? If yes, check out the official video for the Flume’s killler remix of Disclosure track ”You & Me”.
#9 Symmetry “The Hunt”, directed by Alberto Rossini
Johnny Jewel (Chromatics, Glass Candy) has offered up a free download of the album’s closing track, the dark and cinematic “The Hunt”, which comes hand-in-hand with a collage video, directed by Alberto Rossini.
#10 Azealia Banks feat. Pharrell – “ATM Jam”, directed by Rony Alwin
Azealia didn’t look very “into it” or happy in this “ATM Jam” video above, and that makes me unhappy. Nice track, though.
Taking place at Millenáris Teatrum, we’ve got some prime names for you this year. Heating up the night will be headliner Spanish DJ and producer John Talabot—one of the universally-agreed-upon leading names in house music—bringing pure electronic magic with his live set. Talabot didn’t get voted one of our readers’ top 2012 picks for nothing—if you haven’t seen him, here’s your chance to see why. French duo Nôze have plenty of electro-bangers for storming the dancefloor. Their work as remixers for the stars is only a fraction of what they’re capable of, and their live set in Budapest will showcase their clever mix of songs and dance flavor. After a breakout year with the success of her album True Romance, British singer-songwriter Charli XCX (whose recommendation of the new Major Lazer album is featured in the latest issue of Electronic Beats Magazine—available now! – Ed.) will be performing as one of the headliners for the evening, and we’re very much looking forward to hearing the live versions of her beautifully melodramatic electro-pop. Joining her will be Washed Out, and anyone who’s heard the Macon, Georgia-born artist’s sophomore album Paracosm will know Ernest Greene is more than a buzzword like “chillwave”. Packed with beautiful sounds and summery vibes, Washed Out is just the thing for those who might be missing summer once the festival rolls around.
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The Los Angeles-based singer/songwriter’s third album defies the URL/ADD-thrusted idealism of post-genre, celebrating the established in a thoroughly cohesive and beautiful fashion, says Daniel Jones.
Since 2011’s Tragedy, Julia Holter has proven her capacity to take our breath away. It was an album for contemplation and for solitude. But as talented as Holter is, no vast masses stormed the record shops to buy up ten-minute cello epics based on the works of Euripides. 2012’s Ekstasis was different. The sense of ritualism was still firmly embedded in the music, as was the methodical intelligence. But there was the hand of the Pop Gods at work as well, a divine touch that tingled the inner cortex lining labeled RELISTENABILITY. As much as it evoked the dusty and celebrated scents of known cerebral popologists—e.g. your Laurie Andersons and Brian Enos—it also felt timeless. Ekstasis’ ascendant sounds could become earworms as easily as thesis-worthy aural sculptures.
Music that I like the best these days is usually firmly rooted in the Now, with the producer as artist. It’s music that strives, or occasionally effortlessly transcends, categorization. Not that we need any more writers making up new names for micro-genres—music journalism is already enough of a plague on music. In contrast to what I’ve gotten used to liking or seeking out, Loud City Song defies the URL/ADD-thrusted idealism of post-genre, celebrating the established in a thoroughly cohesive and beautiful fashion. Holter skips playfully, yet masterfully, through eras of influence, with individual songs often metamorphosing through several time-and-instrumentation changes in a way subtle enough to only be noticeable after the fact: upright bass is jazzily plunked before shifting into slightly sinister violins and layers of bluesy piano; classical arrangements meld with suggestions of psychedelic rock and yé-yé, the ethereal and the tribal weaving spells in the background.
Ekstasis literally means “standing outside yourself”. Here, Holter does just the opposite. She digs deep inside the pits of her own emotion to the core of something id-like. Gone is any trace of vocoded transhumanism. Instead, the vocals are allowed to play an equal, if not occasionally greater, role than the instrumentation. Which is not to say that any of the tracks have lost their sense of the epic. The ice-queen inflections of “Horns Surrounding Me” sits imperiously between Nico and Siouxsie Sioux, with blasts of saxophone and touches of vinyl popping leading up to an explosive chorus that shatters into solemnly birthed organ bursts. “Maxim’s 2” starts and stops with false builds and lurking whispers. Lightly tapped xylophone and ambient, sampled conversations create an atmosphere of quivering tensions and lyrics like, “Whispers awakening the beast in me,” and, “Drink some blood,” arise unexpectedly from lips that moments before were crooning like Enya.
Tragedy and Ekstasis both had a sense of something greater at work. That’s what made them stand apart. Loud City Song is different, and that’s also its strength. It’s misleading and probably somewhat disrespectful to say that the tracks here feel more like “songs” than “pieces” to me, but, well, they do. There’s enough traditional structure to keep pace, and for the most part it’s extremely easy to sing along with the lyrics. But its catchiness is still sufficiently weird enough to push all the right buttons. That said, it’s not immediately apparent whether or not this album is meant to fit in with its two predecessors. It almost feels as though Holter, venerated in increasingly larger circles, wants to re-introduce us to herself from a different angle. “Hello, stranger,” she sings. “It seems so good to see you back again. How long has it been?” It’s a difficult question to answer because in its intimacy, complexity and ability to surprise, Loud City Song feels like meeting Julia Holter for the very first time. ˜
Welcome to your weekly dose of new and cool music videos. This refill contains audio-visual goods from the likes of Animal Collective, Jay-Z, Machinedrum, MGMT, Oneohtrix Point Never and many more. Have fun while watching my selection in alphabetical order below.
#1 Animal Collective – “Monkey Riches”, directed by Jack Kubizine
New video for “Monkey Riches” taken off Animal Collective‘s 2012 album Centipede Hz. Watch the miniature fantasy film above and maybe now’s a good time to revisit the album if you had not listened to it recently.
#2 Au Revoir Simone – “Somebody Who”, directed by Harrys
After an absence of four years here’s the stylish new video for the lead single off the Brooklyn trio’s fourth album Move in Spectrums, due September 24 via Moshi Moshi/Instant.
#3 Big Sean – “Fire”, directed by Matthew Williams
Miley Cyrus… You’re doing everything right in this video.
#4 Birdy Nam Nam ft. Teki Latex – “Cadillac Dreams”, directed by The Great Nordic Sword Fights
Video for Birdy Nam Nam’s sick track “Cadillac Dreams” off their 2012’s Jaded Future EP. Half GTA, half CGI-madness. Full fun.
#5 Ensemble Economique – “We Come Spinning Out Of Control”, directed by PɨK
Brian Pyle’s (Ensemble Economique) new LP The Fever Logicon was released via Not Not Fun last month. Now their “We Come Spinning Out Of Control” has received a nice video treatment with an outstanding edit.
#6 FKA twigs – “Water Me”, directed by Jesse Kanda
#7 Jay-Z – “Picasso Baby”, directed by Mark Romanek
Kinda next level shit, but I’m still unsure if I like this level or just want to go to the level after. I mean, Marina, what are you doing?
#8 Machinedrum – “Eyesdontlie”, directed by Weirdcore
Travis Stewart aka Machinedrum recently joined Ninja Tune’s roster and this is upcoming album Vapor City‘s first single treatment. It starts as an amazing trip through some urban nightlife landscape but it gets boring pretty fast. Also, male-gaze-gate?
#9 MGMT – “Your Life Is A Lie”, directed by Tom Kuntz
#10 Oneohtrix Point Never – “Problem Areas”, directed by Takeshi Murata
Oneohtrix Point Never’s newest album is set to be released on September 30th of this year via Warp Records—“Problem Areas” is his first single off the upcoming album. It’s very nice and fits perfectly along side the crisp visuals in the music video.
Space Echo are more or less unknown entities, but that’s about to change. The project of Austrian duo caTekk and Lee Stevens is still in its infancy, after all, yet their first ‘official’ release finds them tackling no less than Canada’s queen of dark electro-pop, Austra. Taking the melancholy bounce of Olympia‘s first single “Home” and injecting it with sunshiney disco-house, the two manage to shed an extra ray of light on an already wonderful track. It even made it to #2 on the Austrian FM4 radio charts; not bad for a beginning!
We’re pleased to be able to offer the first official download of Space Echo’s remix. Grab it below!