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Friday, Jan 24, 2014
Up and coming new wave band Mirror Talk debut a gender bending homoerotic video for single "Don't".

It’s part chillwave, part new wave, part ‘80s, part R&B. Mirror Talk wafts through these styles effortlessly, and set against an impressive video of androgyny and homoeroticism, it’s a pretty cool and auspicious beginning for a band that has foregone the traditional band creation route. The video documents close friends, David and Iggy, navigating an endless night of psychedelic revelry and heartbreak. It’s worth checking out.



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Friday, May 24, 2013
Hip-hop artist Andy Kayes serves up a sensory-delight with a visual and aural feast of a video for his single, "The Man Without a Face".

Andy Kayes, an up and coming France-based British rapper, released his indie-album, 2012’s Alone in Numbers to little notice. So it’s surprising when you take one look at the neon-saturated glow of his promo video, “The Man Without a Face”, a stylish exercise in decadent glamour and cutting street-smarts. While Kayes certainly doesn’t have the kind of major-label cash to throw around, the video’s intelligent sense of style (an ingenious use of colour, clever effects and skillful editing) easily trumps the marketing efforts of his far more financially-endowed hip-hop contemporaries. The number’s lean, stripped-to-the-bone beats on which rivers of verbal flow ride atop give ample room for Kayes and his cohort, Copywrite, to demonstrate their rhyme-technique. Sized up against Kayes anxious, nimble and textured verse, Copywrite’s no-nonsense rhymes slice like a serrated blade.


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Friday, May 24, 2013
Dylan Ettinger’s sunless analog electronics get a visual accompaniment that warps a VHS of the surreal '90s vampire classic Nadja into colorful, suitably abstracted art.

In the past several years, Dylan Ettinger has carved his place out in the electronic music world with a dark, post-punk indebted style that embraces a range of analog equipment, hacking a new path out of well-worn devices. His newest, bass-heavy, ringing “The Pale Horse”, found on a new split 7” with Goldendust, sees Ettinger yowling in borderline-Ian Curtis desperation over cut-up, static-y percussion. The song’s video consists of VHS footage from Michael Almereyda ‘s Lynchian 1994 vampire masterpiece Nadja, including a scene of David Lynch himself in a turn as a morgue receptionist, cut up into a stuttering, nauseous, color-altered smear (courtesy of the Tachyons+ Video Art Machine) that complements Ettinger’s icy electronic excursions. The same weighty, pixelated pulse drives both song and video, resulting in an claustrophobic, immersive viewing and listening experience.



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Monday, Mar 4, 2013
Drew Barrymore's little-seen film features a brilliantly hysterical performance by Susan Tyrrell.

Sometimes the whole is greater than the sum of its parts. For a film like Far From Home, however, there’s a whole bunch of parts that don’t really add up to much. This wouldn’t detract from the fact that the film is altogether enjoyable in a way that films today no longer are. If you’ve never heard of the film, you can be forgiven. An old, forgotten Drew Barrymore vehicle that was meant to help her transition from child star to adult actress, this feature came as quickly as it went, appearing for just a flash in theatres during the summer of 1989.


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Tuesday, Jul 17, 2012
Typically, when a band releases a video for their new single, they release a video for their new single. That video is often a series of spiffy, moving images that relate visually and/or thematically to the song that accompanies it, for the purpose of selling said song. Pepe Deluxé is not a typical band.

Continuing to defy logic and expectations like the noble sasquatch defies discovery, the Finnish psychedelic anomoly’s new offering for “Go Supersonic” isn’t so much a video for one of the best songs from their recent masterpiece Queen of the Wave as it is a mock advertisement for the Super Sonic Sound System, a wood panelled modular package presented by a go-go dancing marketing manager. It’s an “homage to the glorious age of Hi-Fi, when speakers were big and far apart, many people actually built their own systems and portable meant ‘with a forklift’”. As such, it has nothing to do with the album’s pop opera libretto, and the song is talked over and tweaked throughout the video, making it hard to actually hear the music the video was made for.


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