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Tag: Music Videos (1-10 of 733)

Naomi Punk's 'Television Man' gets a hypnotic, hypermuscular video

Last month Olympia, Washington weirdos Naomi Punk released Television Man, 10 tracks of jagged postpunk, Pacific Northwest grunge, and art-damaged sonic experimentation that’s as genuinely pleasurable as it is challenging. The title track is also maybe the album’s best, a hypnotic, mathy prog-punk anthem with touches of krautrock drive and almost New Age-y prismatic psychedelia.

The kaleidoscopic video for “Television Man” takes a slightly literal approach to visualizing the song with degraded videotape of flexing bodybuilders, but blasts the images into abstraction through repetition and reflection. “Basically,” writes director Robin Stein, “it came from an initial interest in using mirrors as an analog effect for manipulating video imagery. Beyond the initial visual treatment—inspired by imagery of 1970s body-building and the Philip Lorca Dicorcia photography series ‘Lucky 13’—I was looking at how the contours of extreme musculature could become an abstract and dark visual medium.”

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FKA Twigs gets severely creepy in her 'Video Girl' video

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Last week, avant-R&B cosmonaut FKA Twigs released a video she directed for Google Glass that used a reworked version of “Video Girl” from her recent, EW-beloved LP1 as the soundtrack (along with the song “Glass & Patron”) for a hallucinatory dance-off between multiples Twigses. It served as a showcase for both her impressive dance moves and her equally refined sense of the surreal, but that wasn’t the end of the song’s video presence.

Wednesday morning, Twigs released the official “Video Girl” video, and it’s a whole world apart from the comparably conventional Google Glass clip and its white-room choreography. Directed by Kahlil Joseph, it trades in the lush, color-drenched psychedelia of her “Two Weeks” visual for harsh black-and-white, with the singer playing some kind of otherworldly presence haunting a prison and a man who’s being executed there. It’s an unsettling viewing experience that combines the most disturbing aspects of J-horror and Mulholland Drive, and it climaxes with Twigs straddling a dying man strapped down to a table with a tube of poison running into his arm. All in all, it delivers about 10 times as much creepiness as any horror movie this year in just a fraction of the time.

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'The Goonies' meets 'The X-Files' in Rich Aucoin's 'Want to Believe' video

Halifax indie-pop auteur Rich Aucoin‘s second album, Ephemeral, was heavily inspired by Antoine de Saint-Exupéry’s The Little Prince, and was in fact written specifically to sync up with the novella’s 1979 claymation film adaptation. For the video for the song “Want to Believe,” though, he seems to be tapping into a couple other beloved entertainment properties, pairing a ragtag gang of BMX-riding, adventure-seeking misfits with a burnt-out guy in a rumpled suit who has an obsession with exploring the unknown and a very familiar UFO poster on the wall. The wacky hijinks the group gets up to go nicely with the song’s fist-pumping, Andrew-W.K.-meets-The-Arcade-Fire positivity.

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Bleachers perform atop a moving truck in 'Rollercoaster' video

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Bleachers aren’t ones for car safety, apparently. The Jack Antonoff-led band performs on top of a moving ice cream truck in the new music video for “Rollercoaster “—and on a winding road in the mountains, no less.

Bleachers’ debut album, the ’80s-inspired Strange Desire, came out in July and debuted at No. 11 on the Billboard 200 and its first single, “I Wanna Get Better,” peaked at No. 1 on Billboard’s Alternative Songs chart. Antonoff is also partially responsible for Taylor Swift’s “Out of the Woods,” one of the tracks off her latest album that the two wrote together.  READ FULL STORY

Puppets come to life in Quintron and Miss Pussycat's 'Do The Raid' video

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Quintron and Missy Pussycat’s “Do The Raid” is something that would belong right next to “Time Warp” in Rocky Horror Picture Show, but it has more distortion—and plenty of puppets.

For over a decade, the New Orleans-based duo have been making psych-heavy rock that’s easy to dance to: In the “Do The Raid” video, Miss Pussycat bops around with her maracas as Quintron flops his hair around to the beat of the music, which sounds a lot like what LCD System was aiming for with 2007’s “Watch the Tapes.” READ FULL STORY

Sex, paranoia, techno collide on Art Department and Seth Troxler's 'Cruel Intentions'

Detroit may be techno’s birthplace, but nearly from the start it’s also had a sphere of direct influence that extends far enough to encompass places like Toronto and Kalamazoo, Michigan. Those are the hometowns, respectively, of the group Art Department (comprised of producers Kenny Glasgow and Jonny White) and Seth Troxler, techno scene stalwarts who balance a deep respect for the genre’s conventions with a sonic daringness that keeps their work from falling into the trap of rote reproduction.

Recently all three teamed up for a track called “Cruel Intentions” that coats techno’s relentless minimalist thump in a thick layer of organic grime that evokes greasy, beat-up machinery and tops it with an intriguingly enervated-sounding vocal part that sounds like it could have been recorded from a death bed. The video (produced with a grant from the Canadian talent-promotion foundation MuchFACT) adds in a bit of creepy surveillance-state paranoia and abstract sexiness to the cocktail of intriguingly weird vibes.

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Pink Martini taps a new generation of von Trapps for 'Dream a Little Dream'

Portland’s Pink Martini has made its name on recreating traditional American pop with a respect for tradition spiked with hint of the uncanny—which lends the enterprise a vaguely John Waters-esque vibe.

Recently band leader Thomas Lauderdale hooked up with Sofia, Melanie, Amanda, and August von Trapp, the great-grandchildren of the actual Captain and Maria von Trapp who inspired The Sound of Music, adding them to the group’s sprawling lineup for a new album, Dream a Little Dream, where they take on everything from the Rwandan national anthem to, yes, “Edelweiss.” For the titular track the collective teamed up with Portlandia producer David Cress and Tanya Selvaratnam for a video co-created by Melanie von Trapp and Alex Marashian that matches the song’s juxtaposition of cutesy old-timey aesthetics and dreamy surreality.

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OK Go dances with umbrellas in 'I Won't Let You Down' video

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OK Go’s new video for “I Won’t Let You Down” follows through on the song title’s promise: It will not let you down.

The men of OK Go dance around on UNI-CUBs, personal mobility devices that act similar to Segways but without the standing, and are later joined by a mass of umbrella-toting women. Shot in Japan’s Chiba Prefecture, the video’s dancers open and close their colorful umbrellas as the custom multi-copter camera spins around them, collecting both aerial and street-level shots. The result is a mesmerizing, uninterrupted shot of umbrella-assisted choreography. READ FULL STORY

One Direction show off their human menagerie in 'Steal My Girl' video

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One Direction’s “Steal My Girl” video is bound to draw criticism for its use of the hoary “white performers with ‘exotic’ dancers” trope and lyrics that fit snugly in the long tradition of songs that treat women like property—and if you give it a straight reading, it’s perfectly understandable that you’d feel that way.

But things are much more interesting if you imagine that the Maasai dancers, sumo wrestlers, mimes, and assorted other types of people who appear alongside the floppy-haired boy band are actually specimens that the group has assembled into a human menagerie, like a more terrestrial version of what The Collector was up to in Guardians of the Galaxy. Coming from that angle, the possessive lyrics–especially the refrain “she belongs to me”—take on a far more literal, far more sinister meaning that considerably improves the song and video alike, and may inspire visions of One Direction owning a human zoo at an estate in a remote corner of the English countryside where they amuse themselves by arranging pit fights between sumo wrestlers and mimes.

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See 'Office Space' star Greg Pitts in Teach Me Equals' delightfully weird 'Coelacanth' video

At this point in the game, it feels a lot like the possibilities of the traditional drums-bass-guitar rock band setup have been exhausted, and that every different type of noise that can be made with that configuration have already been made. Avant-punk duo Teach Me Equals have solved that problem by composing and recording their new album Knives in the Hope Chest using nothing more than cello, guitar, violin, voice, and a few electronic flourishes like the beat on their single “Coelacanth” made from manipulated samples of the buzzing noise you get when you touch the end of a plugged-in guitar cable. Between the unconventional instrumentation and angular compositions their music sounds like musique concrète run through the ’90s Pacific Northwest experimental hardcore scene.

In the video for “Coelacanth,” Office Space‘s Greg Pitts (a.k.a. “Drew the O-Face Guy”) romances the titular lobe-finned fish, which was thought to have gone extinct 66 million years ago before they were discovered to be living in small populations around the globe. It’s a deeply weird scenario, but strangely tender as well.

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