I posted this because I like the song. The music video is just creepy. Sorry if it offends anyone. Haha. The filming is interesting though.
From the album If You Look For My Heart (2012)
Interesting tidbit:
Ben Arthur is set to release his sixth album and second novel, both titled If You Look for My Heart, on Sept. 11. The two stand alone, but when enjoyed simultaneously come together like pieces of a puzzle to reveal an added dimension to the works.
“I think this is the first time anyone’s done this,” Arthur said. “But I will almost certainly be
proved wrong.”
We have the video premiere of his song “So Far” from the upcoming 12-song collection. Amid a bustling city, two lovers try to reconnect as Arthur sings: So far /I want my last breath to be with you/So far/I want our grandchildren to be there too.
I really enjoy this song and music video! It’s a favorite!
http://vimeo.com/43496975
Quickie:
Earning Keep, the follow up to Christopher Smith’s 2010 debutThe Beckon Call,is available on Boompa on August 28. Produced by Todd Simko (Pure), it was recorded at Simko’s studio and Mushroom Studio in Vancouver. Earning Keep finds the Vancouver singer-songwriter expanding his musical palette. Where The Beckon Call was largely acoustic, Earning Keepfeatures more diverse instrumentation and an atmospheric sound including minimal piano ballads and harsher, stark noise.
Smith has also premiered the first video from Earning Keep for the single “Pillars and Pyre.” The video marks Smith’s directorial debut, who began his career as a visual artist. Filmed in black and white, the video features a longhaired, bearded drummer playing in slow motion, backed by Smith’s drifting music and soft vocals. Stay tuned for his fall tour dates.
“What a wonderful album. Imagine an eerily-similar young Leonard Cohen vocal,mixed with Villagers or Gorky’s Blue Trees-era band, and you’ve got something this special.”
Very minimal, sleepy and dreamy. Hope you enjoy! If not, leave. No DON’t!
From the album: Coexist (2012)
Review:
The Mercury Prize-winning London band The xx stands out for many superficial reasons, from its sleek Goth look to concerts that crank up the lightshows and smoke machines. But for all its efforts to enshroud itself in otherworldly mystery, The xx’s great gift lies in musical restraint; in a willingness to let clean guitar lines hang in midair, or to draw all attention toward words left unsweetened by production effects. The result may be stylishly moody, but it’s also fearless.
Anyone expecting a dense pop production won’t find it in “Angels,” a ballad which feels a bit like an introduction to a more lavish song; if past hits like “Crystalised” were spare, then “Angels” is positively barren. Opening, characteristically enough, with a clean but woozy guitar, the new song doesn’t get much more bombastic from there: A few snare taps and a low rumble join the most elemental guitar lines as the few adornments for Romy Madley Croft’s naked expressions of devotion.
“You move through the room, like breathing was easy,” she sings, adding, “If someone believed me, they would be as in love with you as I am.” A gentle love song made all the more disarming for its simplicity, “Angels” ratchets up the tension using the fewest possible ingredients
I bought the LP. It’s cool and it’s weird and strange and awesome and mind numbing.
From the new album: Centipede Hz (2012)
Lots of Stuff:
The concept of ‘play’ – that is in the dada-surrealist sense of the word – follows that by playing games we will open doors away from orthodoxy, breaking the shackles of rationalism so as to achieve true chaos, purity, nirvana. In this way, over the last decade Animal Collective have emerged as master surrealists. Experimental as they unpretentious, and resolutely altruistic, if there’s one word to describe the Baltimore four-piece it’s ‘playful’. And the games they played unlocked new ways of making pop music.
With 2008′s celebrated Merriweather Post Pavilion, Animal Collective consolidated a career’s worth of loosely tied brilliance, in such dazzling fashion that it took even longtime fans by surprise. Reinventing hippydom for the chemical generation, this was an album that burned when it should have dissolved, which laughed as the electric thud of childhood’s warm summer blood ran cold, which exploded at the very dead-end of peacefulness, and which at every stage rendered the listener an object inside, looking out. Merriweather Post Pavilion offered something extremely rare in the music world; a type of art inspired not by rebellion, adversity, misery or love, but awe. The awe of seeing the world for the first time – feeling everything all at once,just as a child would. It hung in a permanent hold of pre-sexual, epiphanic ecstasy; too involuntary, powerful and overwhelmingly sincere to be considered twee.
Four years after Merriweather Post Pavilion, today sees the return of Panda Bear (Noah Lennox), Avey Tare (David Portner), Deakin (Josh Dibb) and Geologist (Brian Weitz), who January past decamped to El Paso, TX with the intention of, once again, pulling the rug from underneath pop music. Amongst 2012′s most eagerly anticipated albums, co-produced by the band and MPP‘s Ben Allen, Centipede Hz marks a transition from the reverbed ambient of past albums into more rough’n’ready climes. Every song on Centipede Hz was designed to be played in a live setting, making AC’s 9th studio album unlike anything that’s preceded it, building on MPP‘s panoramic scope but altering the formula in myriad ways. They do play their little games.
