Surprise! Normally these video round-ups aren’t posted until the end of the week, but there’s SO many great new videos already, and it’s only Wednesday! So we thought we’d include a few of the best ones here. Stay tuned for new music videos from Everything Everything, Sui Zhen, Tempesst and Patrick James. Enjoy, and check back at the end of the week for the usual list.

Everything Everything – Spring/ Sun/ Winter/ Dread 

I have found a new favourite in Everything Everything. After reading our review of their Splendour set, I knew they’d be good. Their pop-rock charm took over and I found that I had been watching more of their video, some of them repeatedly, for about half an hour. Their newest video is to blame for starting my addiction. As stated in our coverage of their single Spring/ Sun/ Winter/ Dread, “their refrain ‘Spring Sun, Winter Dread, I don’t want to get older’ will no doubt ring out like an instant anthem”. I couldn’t agree more. That part of the song has been stuck in my head all day.

The video has the boys dressed in astronaut suits, performing the song on, what I guess is, the moon. The use of Ultra-Violet and Infra-Red cameras gave the video a cool filter that make them look almost alien-like. Jonathan Higgs explains their interesting reason for doing this. “The song talks about seasons passing and getting older, so we wanted to concentrate on the Sun and make it into a kind of oppressive force – positive and life-giving but also burning and destructive.” 

Sui Zhen – Take It All Back

Ready to release her album Secretly Susan at the end of the month, Sui Zhen has released her second single with a nice little video. Take It All Back is quite an airy song, so the brightly coloured music video suited the dream-pop sound perfectly. The emotion of the lyrics was captured in the storyline lived by Sui’s alter-ego. She daydreams on a couch as she watches Sui sing on a small TV set with smeared makeup, reflecting her lost and broken state of mind.

Sui explains the plot in more detail. “Susan is the album’s namesake – a manifestation of meta-data, her personality has been cultivated from the collective anxieties, hopes and dreams of the digital documented public. Susan is also an individual, someone’s digital doppelganger. In this video she is trying to connect with her true self. I took a particular liking to mannequins wig models that manage to convey human emotion whilst simultaneously being completely vacuous simulacrum.”

Tempesst – Tidal Wave

Animation is often a great music concept. I didn’t like it much when I was younger, but I grew an appreciation for it. The limitless nature of hand-drawn images mean that absolute anything can happen; our imaginations show no bound! The fact that this is animated by the Tempesst boys themselves makes it extra cool. Tidal Wave has a vintage rock sound that is both timeless and super retro. The 248 ’70s psychedelia-inspired images matched the song’s sound perfectly, fueling the imaginative juices and stimulating the minds of all who watch. Many hours of work paid off, boys!

Patrick James – Bugs

Finally, Patrick James’ new video for fresh track Bugs that premiered yesterday afternoon on Frankie. I’ve taken a liking to the Sydney-based busker ever since California Song so I’ve been keen for this new track. Like the song, the video is sweet and simple. James stands in the ocean, fully-clothed, getting soaked by the crashing waves and others splashing in the water. I hope he shot the video during the warmer months. He then moves onto beach and walks along the shoreline. The song is a chill, folk-like tune, which will leave you feeling relaxed and warm inside.

He’ll be going on tour at the end of the year. Go see him in action if you like what you hear:

Thursday October 15th, The Gov, Adelaide
Friday October 16th, Amplifier, Perth
Thursday October 22nd, Theatre Royal, Castlemaine
Friday October 23rd, 170 Russell, Melbourne
Saturday October 24th, The Workers Club, Geelong
Thursday October 29th, Sol Bar, Maroochydore
Friday October 30th, The Soundlounge, Gold Coast
Saturday October 31st, Woolly Mammoth, Brisbane
Thursday November 5th, Lizottes, Newcastle
Friday November 6th, The Metro, Sydney
Saturday November 7th, ANU Bar, Canberra
Sunday November 8th, Anita’s Theatre, Thirroul

 

Just in case you were worried Splendour in the Grass wasn’t going to be awesome enough, Everything Everything have just given audiences another taste of what they can expect when they take to the stage this weekend.

Spring/Sun/Winter/Dread is the third single off their current album Get To Heaven and provides a superb follow up to the infectious Distant Past, and Regret, which have been ruling the airwaves in recent months. The track follows the same 80’s-esque recipe with lots of synth and high-pitched vocals, but takes danceability to new levels with a chorus that is impossibly catchy.

The refrain “Spring Sun, Winter Dread, I don’t want to get older” will no doubt ring out like an instant anthem from the Splendour fields when the band take to the stage this weekend. There is even a pseudo-rapped breakdown backed by wailing guitars that probably shouldn’t work, but really really does.

Get To Heaven is the third and most ambitious offering from Everything Everything, and is intense, layered and often indefinable. Be sure to check out our review here.

[youtube http://www.youtube.com/watch?v=Ww8gxT8ZWDs&w=560&h=315]

Everything Everything’s album is out now and can be purchased here. You can also check out the bands Splendour sideshows in Sydney and Melbourne:

Thursday, 23rd July
Metro Theatre, Sydney
Tickets: Metro Theatre

Saturday, 25th July
The Corner, Melbourne
Tickets: The Corner

Little has excited me more this year than the return of Everything Everything to the pop fore. Distant Past was the single that ended the Manchester outfit’s two year silence in February, and it epitomises what the band are all about. Frontman Jonathan Higgs‘ typical brand of pseudo-rap verse precedes a chorus that you won’t easily evict from your brain, while the instrumentation is, in turns, as sparse as it is chaotic.

In fact, that notion is true for the entirety of the album, as it has been for their previous releases – 2010’s Man Alive and 2013’s Arc. But, Distant Past and one or two other tracks aside, the band’s third album is remarkably dour. And I don’t mean that it’s an entirely miserable album. In truth, it doesn’t feature the same fragile, morose moments as its predecessors (think Tin (The Manhole), The House Is Dust and Undrowned), but that’s what’s so powerful.

Man Alive was something of a light/dark dichotomy, with tracks like MY KZ, UR BF and Photoshop Handsome offsetting the gloom of the album’s more introspective components. Arc was less incongruous, bridging the gap with Feet for Hands, Armourland and a number of others. Get to Heaven sees the two sides of Everything Everything become one, with no discernible line between their up-tempo pop numbers and their moments of wistful, falsetto-littered reflection.

To the Blade is deceptively fierce. It begins with Higgs’ solitary, delicate lilt (is that the tune of Come Alive Diana?) before he and guitarist Alex Robertshaw shred to an extent rarely heard from Everything Everything. That tempo is maintained by Distant Past and the title track. Get to Heaven even introduces a gaudy whistle to distract from its grim lyrics, which focus on the perverse absurdity of first world problems while, distressingly, there are people desperate to ‘get to heaven’.

Regret is a pounding, intoxicating song about missed opportunities, wasted lives and bleak outlooks, the misery of which is shrouded by chanting and a ceaseless, defining rhythm. Particularly striking are Spring/Sun/Winter/Dread and  The Wheel (Is Turning Now), wherein the eerie line ‘Do you want to know how far you’ve come?’ is repeated above a dull, synthesised warble.

To my mind, No Reptiles mirrors the intricate lyricism and eventual crescendo of Duet, with Higgs’ captivating falsetto swarmed by insistent strings and percussion. It’s one of the more restrained cuts from Get to Heaven, yet it still emphasises the fusion of pleasure and pain that characterises Everything Everything’s complex, indefinable third album.

That fusion has resulted in a collection of songs that attended the party, eyed the punch warily, then went home early, sober and suspicious. They’re a set of sharp, intelligent reminders that, even sweetened by pop music, the world is a very serious place.

Friday means one thing here at H&E – Playlist time! As always, we have you covered for new tunes this week, narrowing it down to just 10 of the very best. We’ve got everything from remixes to originals;angsty indie rock to late night NYC club sounds; homegrown talent and international acts. It’s an eclectic mix, with both editors contributing this week – but that just makes it all the more interesting for you!

Everything Everything, Regret (Oceaan Remix)

I love Everything Everything, and I love Oceaan. So news of a remix between them was pretty amazing, and the track doesn’t disappoint. Okay, admittedly, I’ve mentioned a few times that I’m over pitch-shifted vocals, but the stunning atmospheric layers make it absolutely worthwhile. The eerie vocals slowly phase in and out of clarity as the track moves on, whimsically decorated with all manner of synths and beats. Soulful, sensual and with just the right amount of weirdness, this is what a remix is supposed to be: unique and different, showing us a beloved track in an entirely new light.

Highasakite, Keep That Letter Safe

News of new Highasakite made me just about jump for joy. Ever since I first heard them last year with iSince Last Wednesday, I have been endlessly hypnotised by their original and encapsulating music. Their last release was a cover of Bon Iver’s Heavenly Father, and it certainly sounds like they’ve taken influence from the folk legend. Far more subdued than much of the work on their debut album, they play to the angelic melodies and (occasionally) distinctly-Scandinavian curls. Exploding on the chorus with a full instrumental swell, this is a dazzling, euphoric-sounding song that marks an interesting new chapter in HAAK’s career.

RAC, Back of The Car (ft. Nate Hendricks)
When I hear good folk-inclined music, it makes me really happy, and that’s because I usually fall asleep when I listen to folk. When I hear a song that starts like folk and turns into pop-punk, and I still like it, it’s gotta be pretty special. Bright and poppy, this is a fun, nostalgic track – and they’re not afraid to blare it. It’s one of those songs where, there’s nothing particularly mind-blowing about it, but it’s just good, and you can just let loose and enjoy it, without trepidation or reservation. Evoking MGMT-style euphoria with those spindly synths and singalong choruses, it’s refreshing as fuck to hear a song like this today.

Woodes x Elkkle, Cocoon

We hear a lot of slinky, female-fronted electronic music every day. Literally every day. Everyone is grasping at a genre that only few do well enough to make it really stand out, so it’s nice to hear a song that does its own thing. Woodes’ vocals have a sense of innocence and vulnerability to it, almost as though it’d be better fitted fronting a Feist song than a smooth electronic track – and it works for that very reason. On the production side of things, it’s brilliant – dense and diverse, I’d be equally interested in hearing this as an instrumental track as I am this version.

Ali E, Track One

Taken from her forthcoming EP out June 19, Creatures, Melbournite Ali E (Ali Edmonds) is one exciting lady indeed! Track One is the kind of angsty indie-rock that makes you sit up and listen, with a soft but captivating chord progression, delicate but fed-up vocal harmonies and easily relatable lyrics (at least for me anyway) like “I’ve tried a billion times before / It just don’t feel the same at all”. She’s gearing up to tour nationally, and is definitely going to be worth keeping an eye on!

5amurai Sam, Grey Days prod. J Dilla

Mysterious, unnamed 5amurai Sam is a new comer from Brisbane, and that’s really about all we know about him. However, I would advise him to enjoy his anonymity while it lasts. He just dropped a 5 track EP, and I am predicting big things from the masked rapper. Jumping on beats by MF Doom and Cocoon, as well as this one with J Dilla, 5amurai Sam is demonstrating lyricism and flow that immediately puts him miles ahead from the rest of the pack. Also keep an ear out for the beautifully smoky vocals by guest vocalist Squidgenini on two of the tracks. To die for!

Eli Escobar, Your Sweet Love

Eli Escobar is part of the NYC Night People crew, famous for throwing huge parties across the famous city. He released his debut album late last year, but only on a limited run of vinyl – which of course sold out pretty quickly. Thankfully, he took a moment to think about all the other people that didn’t get their hands on a record, and released Up All Night digitally this week! Featuring three bonus tracks, Up All Night and in particular Your Sweet Love, is the soundtrack to NYC nightlife, and an insight the world that Night People rule so damn well.

Alpine, Foolish (Hopium Remix)

*soigh* Ah, Hopium – every time I think you’ve done the best you can, you go and do even better! This Alpine remix comes hot on the heels of their latest single Right Now, and is one of the better remixes I’ve heard pop up this year. Slowed down, turned up and with a heavy helping of thudding bass notes, Hopium really do a number on Alpine’s latest single, turning it into a slow moving but totally explosive rework that I haven’t been able to stop listening to since Wednesday. It’s a big step forward and another feather in their cap, as they continue to prove why they’re ones to watch – because they continually push their limits, and outdo themselves every. single. time.

Retiree, Heard You’re Doing Well

Sydney boys Retiree are making a lot of noise in the lead up to their EP, This Place dropping this month. Having just released the first single from the record, Gundagai, they aren’t wasting any time getting more and more out – luckily for us! Now they’ve just dropped Heard You’re Doing Well, which is actually the second in a three part series of “conceptually related yet geographically distant” videos of Melbourne, Sydney and London. They covered Melbourne first, and next will be London; but this one shot as a day-in-the-life living in Sydney’s Redfern could well be my favourite. I’ve included this one separately as you’ve gotta see the clip as well to get the full effect!

The Chemical Brothers, Go ft. Q-Tip (Edge of Control Dub)
This is a LOT of fun. We were overjoyed with the recent news that The Chemical Brothers are finally releasing a brand new album – Born In The Echoes, out July – and their new single Go ft. Q-Tip was fucking brilliant – and the video clip was gorgeous. Now, they’ve released their very own remix, titled an Edge of Control Dub. Crunchy, and strange, it sort of jumps between a fairly standard remix and completely warped, glitchy craziness. It’s really interesting to see The Chemical Brothers spin their own song in such a different way. It’s like there’s a Chem Bros parallel universe – something they’ve grown quite the reputation for.

Manchester four-piece Everything Everything have dropped the second single from their upcoming third album, Get to Heaven, which is slated for release in June. The latest cut, simply titled Regret, is something of a step back from the lead single. While Distant Past coupled a dynamic pop hook with Jonathan Higgs‘ agile lyricism,  Regret is a less frenetic sample of the band’s immense talent.

Chant-like harmonies of that single word – ‘regret’ – provide both a sonic and thematic anchor throughout the song, while allowing space for Higgs to weave his usual bizarre brand of pop magic. The chorus is, yet again, an earworm, while a surprise guitar solo late in the piece proves that you never really know where you stand with Everything Everything. And I love it that way.

Manchester’s Everything Everything produce a frenetic brand of pop music, characterised by intricate, rapid-fire lyricism and the unique falsetto of Jonathan Higgs. The same elements are evident in their brand new single, Distant Past, the first taste of their upcoming third album.

Littered with peculiar vocal samples and more spacious than the band’s previous works, Distant Past picks up where their 2013 LP, Arc, left off. The single’s irresistible pop hook is shrouded by Everything Everything’s trademark eccentricity, which forges an endearing blend of the accessible and the indefinable.

Get to Heaven is slated for release on June 15.