New week, new videos. Road-tested in yesterday’s live Videodrome screening in our office, we present a selection of music video art by directors such as Tom Haines, AG Rojas, Saman Kesh, Emilie Serri and more below.
#1 The Civil Wars – “The One That Got Away”, directed by Tom Haines
Quite a captivating video for TCW’s “The One That Got Away”, where an itinerant woman hits the devastated city of Moore, Oklahoma, which was hit earlier this year by a fierce tornado.
#2 Gardland – “Syndrome Syndrome”, directed by Jannah Quill.
Abstract trailer for the latest RVNG signing Gardland. Not really a music video, it’s been labeled as an album teaser. But I do like it a lot.
#3 Portugal. The Man – “Modern Jesus”, directed by A.G. Rojas
Not sure about the song and the video feels a little messed up, but it’s still visually interesting. The description of the video says that they filmed in 15 states across 20 days, with zero stock footage.
#4 GOLD ZEBRA – “Love, French, Better”, directed by Emilie Serri
Up for some dark disco? Then try the beats from Montreal-based duo GOLD ZEBRA who have just released their first official video for the song “Love, French, Better”. The track was originally released in 2011, but came back on the radar as part of the movie soundtrack for The Canyons. It will also appear on the upcoming full-length via Montréal label Visage Musique.
#5 Meyhem Lauren ft. AG Da Coroner & Action Bronson – “Drug Lords”, directed by William Child & Declan Creffield
Meyhem Lauren drops his new visual for the track “Drug Lords” featuring frequent collaborators AG da Coroner & Action Bronson. The track is taken off his latest mixtape, Respect the Fly Sh*t, which is out now.
#6 Dinner – “Overtake”
Danish musician Anders Rhedin aka Dinner keeps it psychedelic in his latest music video “Overtake”. Hilarious.
#7 Belle and Sebastian – “Your Cover’s Blown” (Miaoux Miaoux Mix), directed by Graeme O’Hara
Last week the Scottish indie pop veterans Belle and Sebastian dropped their compilation album, The Third Eye Centre. The Miaoux Miaoux Mix rework of “Your Cover’s Blown” is a surprisingly groovy take.
#8 Placebo – “Too Many Friends”, directed by Saman Kesh
Director Saman Kesh invites you to check out your powers of observation and deduction in his brilliantly analytical clip for the new Placebo track “Too Many Friends”. Song starts at 1:20, by the way.
#9 Young Braised – “Murakami”
Ace track from Vancouver rapper Young Braised, who offers this lo-fi video which fits to the track nicely. Off of Japanese Tendencies, out September 3rd on tape label 1080p.
#10 Banks – “Waiting Game”
Banks has premiered the official music video for the SOHN-produced lead single from her recently announced album London. Nice, nearly industrial-sounding electronica.
This May saw the release of Montreal duo Majical Cloudz‘s second album Impersonator which perfects their template of melancholic, electronic pop, following up on the promise of Debut II and the recent Turns Turns Turns EP.
Vocalist and guiding force of the band Devon Welsh and his production partner Matthew Otto have always demonstrated a healthy work-in-progress attitude, which has led them to a cleverly designed combination of elaborate digital production sounds and Welsh’s murky and intense ruminations. The ten tracks, mid-tempo and minimal, are as focused as they are remarkably sung. Time to subject Majical Cloudz to a Perfect Ten, then? Devon kindly stepped up.
Your most memorable show, and why?
The second show we ever played in Montreal. A promoter put us on a struggling bill at the last minute thinking we would have a good draw, which at the time we did not. Nobody came to see the headliner, and only our two friends came to see us play. The show was in a pretty large venue, and it turned out to be an amazing experience. We played for our two friends and the venue staff, and sold all our tapes to the employees. It confirmed for me the idea that you don’t need a big audience to have a good time at a show. If you love the music you’re making, and at least one person is there to hear it, then it’s a performance, and it can be as good or even better than a show to 1,000 people.
An album or artist that changed the way you thought? And how did that happen?
I discovered Radiohead when I was 17. Until that point I had listened mostly to screamo, contemporary hardcore, pop music on the radio, and anything else that people listened to in my hometown. At the time Radiohead was unapproachably artistic and interesting to me. Their music opened many doors in my head and it led me to take an active interest in contemporary music.
What does underground and mainstream mean to you?
This could be a long conversation. I think the distinction between these two concepts is changing rapidly. In music, “underground” and “mainstream” used to refer to two different sides of the industry. These days the lines are less defined; the internet and the development of music software have created accessibility and freedom for many people to make the music they want and get it heard. “Mainstream” in some sense still refers to a real boundary between major label institutions and the rest of the industry, but I think more than ever musicians can gain access to massive audiences without recourse to the “mainstream” institutions.
Should music be free?
Music is currently free if you want it. A person can download almost any music they want—through the Pirate Bay, what.cd and many other websites. I think musicians who are dedicating their lives to their craft deserve to be paid for it, just like any other career. There are many costs associated with the process of recording records and touring. I think music is an invaluable aspect of our 21st century culture, and paying for a musician’s art ensures its survival.
What’s one important lesson you learned from your parents?
Both of my parents have pursued lives of art in one form or another. My father has been a professional actor his whole life; my mother has been a painter, a videographer, and has successfully lived an unconventional life of travel and discovery. It continues to be their example that gives me confidence to be doing what I’m doing, which is a thoroughly unconventional existence.
What defines your music-making process?
I don’t usually consider other music when I’m writing songs. It’s not really about hearing something I like and trying to replicate it. Instead it’s about trying to be forthright and clear in communicating a memory or a feeling. I make demos of songs at home alone, and then eventually Matt and myself will work on the song together. We add sounds and make subtle changes, and the song inevitably develops as we perform it live.
Describe your one indispensable outfit?
95% of the time I wear a tucked-in white t-shirt and black pants with black boots. Why I wear the same thing every day is a long story, but it has to do with the familiar comfort of a single outfit. When I wear something else I feel different in a way that is kind of uncomfortable.
A film, book, or artwork that greatly influenced your music and why?
The book American Hardcore: A Tribal History by Steven Blush was mindblowing and inspiring to read. I appreciated the attention to detail in the coverage of a shockingly new phenomenon. The attitude of hardcore has been a major inspiration to me in life and music ever since I discovered it.
Do you have any predictions for the future?
The future is always unwritten, which I’m thankful but fearful for. The one certainty I can come up with right now is that the massive environmental crisis currently befalling the planet is going to start affecting all of our lives, maybe very soon. It makes me wonder if music is even going to matter in 50 years, or if we will look back on it as excessive, indulgent entertainment.
If you weren’t a musician, what would you be?
To be totally honest, I would probably either be an actor, a professor of religion, or a police officer. ~
Majical Cloudz’ Impersonator is out now on Matador.
We reported in 2009 that Cold Cave had been signed to indie label Matador for their debut album – the excellent Love Comes Close and now the band are getting ready to release their follow up LP Cherish the Light Years.
Guests on the new album include Yeah Yeah Yeahs‘ Nick Zinner and members of hardcore bands Glassjaw, Hatebreed, and Moss Icon. The album was recorded and produced with Chris Coady who counts some of the best indie albums in recent years as part of his CV including Beach House’s Teen Dream, TV On The Radio’s Dear Science, Gang Gang Dance‘s Saint Dymphna, and 23 by Blonde Redhead.
Cherish The Light Years is an ode to band leader Wesley Eisolde’s adopted city of New York, one that has given him all the fuel for his inspiration. "It’s about bringing this world of feelings in my head into the actual world, and having it exist there.”
For all details on Cherish The Light Years go here.
Cherish The Light Years will be released on the 4th of April on Matador