The boys of One Direction are ready to make fans all googly-eyed (again) with “Ready to Run,” the new single from their upcoming album, Four.
Tag: Music Videos (11-20 of 750)
Three things that were very major in 1989 that Taylor Swift did not work into her album 1989: aerobics, Alan Thicke, and Crystal Light. Thankfully, YouTuber Thomas Jung somehow figured out that “Shake It Off” syncs up with almost eerie perfection to a routine from the 1989 Crystal Light Aerobic Championship, hosted by Alan Thicke, which was something that actually aired on television at one point.
The video’s hilarious. (Aerobics! Spandex! Floofy hair!) But there’s a poignant quality in seeing a bunch of people celebrating something that would almost immediately after seem dated and vaguely creepy. Good thing that’ll never, ever happen to our collective obsession with Taylor Swift!
L.A.’s Black English used to go by the name NO, which they changed due to it being massively confusing and un-Googleable (not to mention the fact that there’s another band called that) but gave it to their latest album, which was released at the beginning of the year. The latest single from NO is “Hold On,” and they’ve filmed a video for it with Natalie Wertzel and a gang of collaborators including Oliver Hibert, the psychedelic painter and sculptor who’s largely taken over visual identity duties for the Flaming Lips, including the cover art of their recent Sgt. Pepper’s tribute.
“The ‘Hold On’ video came about when I ran into a young lady, Natalie Wetzel, at an Echo Park cafe down my street,” writes Black English’s Bradley Carter in an email. “She was new to town and we started talking about how relationships can be so interesting in this time. You can be thousands of miles away from each other but still feel so connected, almost too much to a point that it can affect or intrude on everyone else around you if you aren’t careful.”
It's not too late to fall in love with Sharaya J's Missy Elliott-directed 'Takin' It No More'/'Shut It Down' video
Missy Elliott hasn’t released an album in nearly a decade. As a fan, that can be hard to deal with, especially as other rap and R&B stars of the early ’00s have mounted comebacks over the past few years. But as frustrating as the lack of a new Elliott LP has been, it’s hard to argue with the admittedly well-deserved semi-retirement she’s been enjoying, casually jumping on tracks for old friends, releasing the occasional hot new thing whenever the mood strikes her, and not really sweating career stuff.
Recently she’s taken on Jersey artist Sharaya J as a protege, performing with her at the afterparty for an Alexander Wang runway show and even making a video for her. Back at the end of September, Sharaya J released a diptych video for her songs “Takin’ It No More” and “Shut It Down,” which Elliott co-directed and executive produced. It’s Elliott’s first time directing, as she admitted last night on Twitter, but she’s obviously learned a lot from starring in videos, and the results of her debut effort are way more impressive than the average novice. It helps that Sharaya J is a superstar just waiting to happen, with intense vocal and dance skills matched by a charisma that blasts out of the screen with an almost palpable force.
She also seems to have inherited Elliott’s frenetically experimental streak—there aren’t many artists out there who have the skills or even the inclination to pull off choreography that incorporates real-time sign language translations into their dance moves.
The “Takin’ It No More”/”Shut It Down” video has been out for over a month now, and so far it’s only racked up a little over 100 thousand views, which is only a tiny fraction of what it deserves. A month may seem like a million years in today’s hyperkinetic pop landscape, but that doesn’t mean it’s too late to fall in love with it.
Unless you’re a potamologist, when you hear the words “Los Angeles” you probably think about hellish traffic and fantastic taco stands before you think of bodies of water. But the Los Angeles River flows right through the middle of town and provides some of the many surreal juxtapositions of car-centric urbanization and raw nature that L.A. has to offer.
In the video for Dirt Dress‘s “Revelations,” directed by artist Ben Jeans Houghton, local scenester Diva Dompe explores the river and the wildlife living around it (including a colony of feral cats) with a shimmering postpunk soundtrack on her Walkman.
Dirt Dress’s Revelations EP is out now on Future Gods.
Ariana Grande has traded in her space gear for cat ears.
In her new video for “Love Me Harder,” Grande writhes about in a dark room, wearing cat ears as she belts the ballad, and The Weeknd eventually emerges from the shadows.
Last year, erstwhile Two Wounded Birds front man Johnny Aries moved from London to New York in order to join up with his former tour mates The Drums. Along with playing on their most recent album, Encyclopedia, Aries has also written and recorded his first solo LP, Unbloomed, since his relocation.
Combining punchy pop with a bit of gothy postpunk edge, it’s like a trip back in time to the period in the ’80s where alternative youth culture was ruled by swooning, floppy-haired Smiths fans.
The video for its lead single, “This Grave Is My Bed Tonight,” underlines that aspect by slapping some vampiric makeup on Aries and friends and sending them out onto the streets of New York.
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.”
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.
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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