The Black Keys’ video for “Fever” featured frontman Dan Auerbach as a televangelist who inspires a, well, fever among his audience members. That televangelist is back in the band’s new video for “Weight of Love”—but this time, he’s on the television screen in a cult’s house. READ FULL STORY
Tag: Music Videos (31-40 of 713)
Arcade Fire frontman Win Butler was too busy directing the music video for “You Already Know” to actually sing, so he got some help for his parts—from paintings with moving mouths and neon pink tape covering their eyes.
The ability to make and distribute music videos used to be limited to a relatively elite level of performers, but with cheap technology and free digital distribution, anyone with at least a song and a smartphone can make one. Consequently, there’s been a biblical-level deluge of them, forcing creators to take increasingly contrived routes to getting noticed—hence the numbing amount of NSFW clips trying desperately to shock viewers, or elaborate, Rube Golbergian ones like nearly all of OK Go’s videography, where the gimmick far overshadows the music itself.
Compared to its stunt-dependent competition, the video for indie-pop duo Amoureaux’s “Lost the Plot” is an elegantly understated breath of fresh air. It stars dancers Reshma Gajjar and Hunter Hamilton (who in the past have done work for Madonna and Sia), choreographed by Kitty McNamee and directed by Miles Crawford, with little to distract from their performance. Amoureux bassist Holiday J and drummer Nicole Turley are both former dancers, and the collaboration with McNamee and Crawford highlights how much they’re still focused on rhtyhm.
“I fell in love with the rawness of this song,” writes McNamee in an email. “It swept me in. I think it triggered a very personal response to the music.”
“I was intrigued by the idea of stalemate,” Crawford adds. “All the moves have been tried, and yet we aren’t ready to give up the game. In the repetition we lose our way, our purpose. We go at it again and again, finding the same result, until finally there is nothing, but to let it go. That, and I wanted to play with flour.”
Iggy Azalea and Rita Ora’s song “Black Widow” raises a lot of questions—like what does it mean that Rita Ora wants to love somebody until they hate her and also like a black widow? And what is up with Iggy’s tautologically fraught line, “If it wasn’t for you I wouldn’t be stuck singing this song?” And has someone, possibly a close friend or family member, talked to them about the fact that getting into “Fatal Attraction s–t” isn’t something they should be so proud of, and maybe they should consider a course of intensive therapy?
The video for the track only keeps the questions coming. Why is Iggy Azalea working in a greasy spoon with a poster in the kitchen that clearly has a drawing of her on it? What kind of high-intensity boob tape are she and Rita Ora using in those jumpsuits? And did anyone think that there were people out there who were begging to see Iggy Azalea and Rita Ora try their hand at comedic acting?
Forget yoga retreats in the mountains—judging from Robyn and Röyksopp’s video for “Monument,” space is the place to go for all your meditating needs.
Robyn and the members of Norwegian duo Röyksopp float on a white circle through space, occasionally getting up to dance in slow motion and stare at each other in wonder. The dazed video reflects the dreaminess of “Monument,” a track more ethereal than the dance-pop Robyn’s known for.
If you’ve ever wanted to watch a combination of Britney Spears’ “Oops!… I Did It Again,” Star Wars, Gravity, Guardians of the Galaxy, and Transformers, Ariana Grande just made your wish come true: Her music video for “Break Free” is all that and more, with the “more” being missiles jetting out of her boobs.
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Ryan Adams has basically three distinct phases of his creative process, and he’s been bouncing back and forth between them for his entire solo career. When he’s not dropping entirely out of the public eye to the point where people start to wonder if he’s finally completely lost the thread, he’s releasing wacko projects that make people start to feel pretty confident about their suspicions. And when he’s not busy doing either of those he simply puts out music that reaffirms his position as one of the few truly great roots-rock troubadours left.
Judging by his latest single, “Gimme Something Good,” he’s currently in the latter mood. With its clipped blues guitar figure, haunting organ, and anxious vocal line, the song feels like his homage to Fleetwood Mac, and it’s one of the best things he’s released in recent memory.
Recent pop history has been notably light on the kind of epically-scaled rock anthems built for fist-pumping, arena-shaking singalongs that dominated the radio throughout the ’80s and ’90s. Portland duo Priory is singlehandedly reversing that trend with their song “Weekend,” which for the past month has been slowly gaining momentum on radio and seems destined to go onto even bigger things.
Brandon Rush and Kyle Sears met at shows around Portland, but the idea to collaborate musically didn’t come until Rush moved into a punk house that Sears was living in. “We just sat down for the first time with acoustic guitars and it was kind of instantaneous,” Sears says. “Literally I think the first time we sat down we wrote the foundations for like two songs.”
The eighth season of the DirectTV-based concert series Guitar Center Sessions has leaned heavily on ’90s acts like Soundgarden, Alice in Chains, Damon Albarn, and Snoop Dogg, but for its penultimate episode they’ve brought in a group that’s only just started to bloom. This Sunday, Aug. 10, the show will feature Scottish trio CHVRCHES, whose debut LP, The Bones of What You Believe, has been steadily accumulating fans since it was released last fall, making them one of the more popular acts in the electropop revolution that’s leapt up from the indie underground and started taking over the pop charts.
Here’s a first look at their performance of “Mother We Share,” one of the standout songs from a catalog that’s full of exceptional pop hooks and delicious electronic production.
Ryan Neighbors played keyboards for the proggy rock band Portugal. The Man until 2012, when he left to form the synth-heavy power trio Hustle and Drone. After a spending the past couple years woodshedding in Portland, the group is preparing to release their first LP, HOLYLAND, September 2 on Red Bull Sound Select.
The album’s lead single, “The Glow,” has the fist-pumping energy of an arena-rock anthem, so it makes sense that the group shot its video in the Moda Center, home to the Portland Trail Blazers, fulfilling what Neighbors calls “a childhood dream.” The clip features high-flying, slam-dunking luchadores and a whole lot of fake blood, not to mention enough synthesizers to stock a Guitar Center keyboard section.
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