Released earlier this year, Liars’ diverse but focused project, Mess, received average to good reviews, mostly because even though it was interesting, progressive and at the same time still quite retro, they did little to stray from their usual early 2000s dance punk sound. The intro track “Mask Maker” led the pack with a viscous New Order-esque bass beat, peculiar lyrics and a synth horn section that could have come from a punk Atom Heart Mother; and was noticed as one of the best–if not the best–tracks on the record.
Consequently, the release of the new music video for “Mask Maker” was pretty exciting, as Liars would have the chance to put their aesthetic talent to use once again to match the boldness and power of the track. Characteristically the video features a minimalistic approach, each band member wearing white suits and being drenched in multicolored wool threads, with jumps from image to image in time with the beat. Although I would have enjoyed a reference to whatever the lyrics actually meant, I actually preferred the abstract approach.
If you haven’t heard the track, the video is an interesting accompaniment, and a must see for Liars aesthetic lovers.
- Fin Worrall
Singer-songwriter J. Tillman, a.k.a. Father John Misty, just dropped a simple, kaleidoscopic video for the song “Chateau Lobby #4 (in C for Two Virgins),” which is one of the many tracks that will be featured on his upcoming album, I Love You, Honeybear. It’s currently looking at a February release via Sub Pop Records.
While I find the video underwhelming, I’m completely swept off my feet by the song. Tillman’s voice is lovely and inviting, and horn section on this thing has a spice whose origin I can’t quite put my finger on. Is it South American? Middle Eastern? Maybe a mix?
The instrumentation is wonderfully layered, and the story told in the lyrics is worth diving into as well. Definitely looking forward to this record.
Run The Jewels are uniquely skilled at conjuring ridiculous amounts of havoc and bravado from a surprisingly minimalist approach. The duo apply this talent in the new video for “Oh My Darling Don’t Cry”, the second single from their year-end-list-topping LP, RTJ2. Like the production on the track, the video gives El-P and Killer Mike room to display their prowess, a pulpit from which to preach. El’s beat for this track sure is a wild ride, but at its core it’s really quite sparse: the dry, quick snare, that stomach-churning kick, and the chopped voices skittering on top. The dense and incendiary verses really get the spotlight with it writhing underneath them like that. The visuals work in much the same way, framing the pair as they deliver each blow. Forgoing any narrative, we get only a dark room, intermittent flashes of light and color, and distorted nude bodies blurring by…and of course El and Mike flat out laying waste.
When it comes to being stalked and held captive, I think we can all agree that it’s an experience we’d leave rather than take. And the wrinkly, green-haired character in Little Dragon‘s new “Underbart” video is so physically unsettling that I think he’d be the last on my list of people to stalked by. The beat slowly evolves from atmospheric synths to claustrophobic percussion, highly reminiscent of LCD Soundsystem’s “Someone Great.” The way the song utilizes its space, or eventual lack thereof, greatly enhances the video’s ever growing sense of dread, and will certainly leave you wonderfully.
Check out a review for the latest Little Dragon album here.
- Garrett Cottingham
Teaming up with fellow Chicago rapper Supa BWE, Mick Jenkins lands on this socially relevant and very necessary cut titled “Treat Me.”
If you wanna hear this track in its greater context, it comes from Supa’s new EP, which is titled Hurt Everybody. Personally, I didn’t dig it, but if you’re into this song, it’s definitely worth giving a shot. Enjoy!
tUnE-yArDs drops visuals for the track “Real Thing,” which features loads of imagery dealing with being “real.” It’s a cool concept, and executed well. The color scheme of the video is especially pleasing, and gets incredibly vibrant toward the very end. Props to Tom Jobbins on the direction here, and check out Nikki Nack if you haven’t already.
Chromeo drops some visuals on one of the catchier singles from their forthcoming album, White Women. Look for the album on May 12th. You might remember my fandom for the synth funk duo after the release of their last album. Admittedly, that was quelled a bit after they released a relatively weak song with Toro Y Moi; however, “Jealous (I Ain’t With It)” has my excitement back in full gear–especially since its pairing with this incredibly clever, well-shot video. Enjoy!
OFF! drops a new video for “Hypnotized,” which features a comedic altercation between two patriotic superheroes in ridiculous costumes. While the storyline is pretty zany, it’s really the antics and food-for-thought lyricism of frontman Keith Morris that make me wanna jump out of my chair and put my fist through my computer screen. UGH!
Look for OFF!’s latest album, Wasted Years, on Vice Records this April.
Bon Iver drummer S. Carey put out a gently beautiful solo debut a couple years back called All We Grow, and is now ready to release a follow-up, entitled Range of Light. He had dropped a single from it, “Fire-scene”, and now that single has a video. It is more or less a series of images of a frozen, beautiful winter landscape, full of icicles and trees and mountains. A fire is built. Looks toasty. It is all very appropriate, given the soft, pretty nature of the song itself. The refrain of “All I want is honesty” seems fitting for these visuals, because in the end, what is more honest than the harsh gorgeousness of nature.
Range of Light is out April 1 via Jagjaguwar.