Cryptacize release their second album, Mythomania, on April 21st. The trio is Nedelle Torrisi, Chris Cohen of The Curtains/ex-Deerhoof, along with Michael Carreira. The spare, jagged rhythmic tunes nearly evoke a ‘60s girl pop band in a mid-‘80s post-punk setting and yet sound thoroughly contemporary and new.
From Mike Newmark’s review here at PopMatters: “Graf opens auspiciously, with some quavering notes and a funky, propulsive beat, but it quickly becomes clear that St. Werner [of Mouse on Mars] doesn’t have melody in mind; soon, he’s treating the tuneful elements as he would a blast of noise or a floating piece of digital waste.”
Oh, well… sounds good to me, anyway. Maybe the video helps.
The most quiently innovative music video director alive today scores ... again.
Will someone please stop Patrick Daughters, please?
This man has done nothing but wonders since he appeared on the scene back in 2004. A friend of the Yeah Yeah Yeahs, this former film student was brought in to helm the clip for the second single off of the group’s 2003 debut Fever to Tell. The song was “Maps” and the resulting video was as quietly devestating as you would expect for such a fragile number: Karen O, standing on stage during a rehearsal, baring her soul. A simple concept that was executed grandly.
Yet Daughters is very much a “concept” director: he knows that visual medium should be used to excite and entertain, which is perhaps why his overstuffed clip for Feist’s “Mushaboom” appears to have ideas for at least a dozen different videos wrapped up into it. Never once are his videos boring: his style is akin to that of a young Spike Jonze, wherein a clever concept can carry an entire video instead of just being nothing more than a simple sight gag. When not putting Beck in front of giant studio sets or putting Feist (again) in a field of fireworks, he’s orchestrating ... war ballets?
His clip for the Department of Eagles’ “No One Does it Like You” is both simple an haunting, as dancers take the form of soldiers and ghosts, lightly swaying and sashaying as death surrounds them. The cutesy-aspect of this clip is cut short during its final moments, when the dancer-soldiers are shot with real guns, with real (fake) blood pouring out of them, both sides uniting in heaven. The sharp violence immediately counterbalances the simplistic costumes (the ghost is a white sheet, for pete’s sake!), and—yes—the very well-choreographed dancing. Yet the best part? The visual element actually enhances the song’s emotional content.
So, let’s raise our drinks again to Patrick Daughters: the man to soon usurp Michel Gondry’s throne.
Legendary singer-songwriter Cohen struck out on his first tour in 15 years last year. The result is the compelling new live recording, Live in London, documenting those critically acclaimed shows. The album releases today and we have also just published a rave review, giving the record an 8. Adrien Begrand says: “From the opening salvos of the gorgeous, cabaret-tinged ‘Dance Me to the End of Love’, it’s clear that he has not lost a step whatsoever, his resonant, cigarette-deepened baritone voice enveloping us, brilliantly interweaving with the dulcet tones of his trademark trio of background singers.”