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.
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.























