Geneva Jacuzzi’s Casket is a short film that has been described as a “futuristic head trip” by the director of the film, Chris Friend, and no other description rings more true. Within a little over six minutes the viewer is delightfully bombarded with impeccable visuals that evoke the feeling one would get when reading a Philip K. Dick novel. Geneva Jacuzzi’s song “Casket” itself sounds like the kind of music replicants from the film Blade Runner would listen to. It’s robotic but filled with personality as if it were an android that has become self-aware. Chris Friend understands this music, so he perfectly mirrors the song’s tone with dystopian imagery, but instead of relying solely on trippy imagery, this film has a plot featuring characters with magnificent costumes and makeup, all played by Geneva Jacuzzi herself. The plot is intriguing, but frustrating, frustrating because it’s hard to follow due to the constant visuals being thrown at you, but that frustration is part of the film’s charm. Upon watching it my frustration got me thinking about the idea of “control.” Control is something we all like to think we have at any given moment. Much like the visuals in the film that derail your goal to follow the plot all the way through, life is filled with distractions and left turns that render us vulnerable as we try to work around the obstructions to reach our goals, and who knows how many secret forces are already controlling us right now. How does this relate to the film? Well, what is the sole purpose of robots? To control them. To have them do things for you to make your life stress free and convenient, but what happens when your Pleasure-U BioDrone contracts a mental disease and you’re forced to amputate its head? Well, our main character in the film who goes by the name Kate Shaw faces this dilemma, making the decision to keep the body of the drone alive in what is called a “Pleasure Center Casket” as an attempt to regain control of the situation, but sure enough that control diminishes as the BioDrone’s head continuously calls to Kate’s brain with hallucinatory visions. This could symbolize all of things that are used to brain wash us from various forms of media, constantly telling us how to think and how to feel. If that isn’t control, then I don’t know what is. Maybe that’s not even close to what director Chris Friend was getting at with this film, but this film is the work of a director who clearly has no interest in spelling things out for the viewer, so in the end you’re forced to formulate your own interpretation, and even if your interpretation is wrong, that’s okay, because you have no control over that either.
2020 was undoubtedly a strange year, but out of the ashes of what used to be the norm pre-COVID, arose a resurgence of fresh new talented artists to discover in the midst of an uncertain and panic-driven way of living that has forced many of us to stay home, so what better way to stay hopeful than to discover new music with all of this free time? French artist BLISS MY HEART is one of the exciting up and coming artists who has garnered much of our attention thanks to her superb E.P. Morningstar, a release that showcased her unique voice and immense attention to detail with immaculately produced “Electropop.” It’s hard not to feel a sense of relief or comfort when hearing her music, and her new single “Latigo Canyon” is no exception. With a beautiful contrast of melancholia and melodic upliftment, the song is a powerful ode to her grandfather, and her new music video for the song powerfully reflects the positive energy of the track. She has also partnered with “Green Ticket Mx,” an environmentalist organization dedicated to helping our environment flourish with reforestation. After each 150 views, 1 tree will be planted in Mexico, so tell everyone you know about this video so everyone can listen to good music for a good cause. You can watch the music video for “Latigo Canyon” below:
We’re already in December and it seems like just yesterday I had the incredible pleasure of listening to the debut album of “Ready, Steady, Die!”for the first time.Their debut album Pleasure Ride was released in the beginning of January, which seems like ages ago considering it was a time when we had no idea we were all about to experience a pandemic like no other. The album hasn’t lost its impact though, and in some ways has become even more relevant mirroring our shifting moods due to our moments of isolation, uncertainty, and various coping methods bad or good. Today the band have shared a new beautifully shot in black and white music video for their track “Vent.” The video encapsulates our current state during this pandemic that doesn’t seem to have an ending. Both members Sam K and Morgan Visconti appear in the video but are distant from each other in which i’m assuming is in their own personal homes, but in the video they’re doing what many of us have been doing to stay sane, venting it out with their music and creativity. You can watch the music video for “Vent” below:
At this point in their career Hip Hop duo “Atmosphere” shouldn’t be sounding this refreshed and inspired with new ideas, but here we are over 20 years after the group’s formation and the two have surprised us all by sonically exploring new territories one with an old worn out cassette copy of Headshots Vol. Se7en would never see as a possibility for a new change in sound. I’ve never heard so many synthesizers on an “Atmosphere” record, let alone synthesizers that evoke the spirit of 80s “Horror.” Producer Anthony Davis drawing influence from “Horror” isn’t completely out of character, considering much of his early work featured samples from classic Horror films such as Night of the Living Dead, Suspiria, Henry: Portrait of a Serial Killer, and The Shining, but this deep dive into dark synth-driven Electro is a massive surprise. As for Slug, he isn’t exactly breaking new ground, but he solidifies his status as the ultimate MC who can unsparingly reveal his vulnerability and rap his ass off at the same time. This is the best “Atmosphere” has sounded in years.
The old “Siouxsie and the Banshees” classic “Happy House” has gotten a dancey makeover by London-based Electronic producer “Common Flaws,” and it’s a dancefloor ready cover that stays true to the original all while putting a new synth-driven House-flavored spin on it. You can watch the music video for “Happy House” below:
Even though this whole year has been a Horror movie, many of us are still celebrating this October as spooky season is here. To commemorate the favorite holiday of us weirdoes, Montreal-based singer/songwriter Maryze has released a brand new single titled “Squelettes,” and it’s her most ambitious track yet. I know I probably sound like a broken record, because every time Maryze drops something I describe it as “her most ambitious yet,” well, that’s because she continues to reinvent herself and experiment with new sounds, some even outside of her comfort zone, and that’s the mark of a true innovator. Meaning “Skeleton” in French, “Squelettes” is her darkest track yet. With hard-hitting production from Margo, and an explosive verse from Backxwash, the track is hauntingly catchy, but instead of delving into the typical “ghouls and goblins” tropes affiliated with Halloween, Maryze speaks on addiction and mental illness, which is far more disturbing than ghosts and zombies. Many of us have been forced to deal with our demons during this pandemic, and a lot of us have used unhealthy coping methods, and Maryze doesn’t sugarcoat this subject. The shouts of “what the fuck are you doing here?!” from Backxwash is all of us as we deal with that inner voice that tries to sabotage us, even when things are going well. It’s a dark yet inspiring track that dives deep into the darkness to trudge through the mud in order to reach the light at the end of the tunnel. “Squelettes” is a taste of what’s yet to come on Maryze’s debut album which is set to be released next year on “Hot Tramp Records.” You can listen to “Squelettes” below:
Yes. You read that correctly. “Gorillaz” continue their unbeatable streak of impeccable singles with episode six of their “Song Machine” series featuring THE Robert Smith of “The Cure.” The track is titled “Strange Timez,” which is fitting considering the bonkers all-out shitfest of a year we’re living in right now. Oh 2020, what happened? You were the chosen one. “Strange Timez” is everything you’d want from a “Gorillaz” and Robert Smith collab and then some. You can listen to “Strange Timez” below:
Today “New Order” have shared their first new music since their 2015 album Music Complete. It’s a track titled “Be a Rebel,” and about the song frontman Bernard Sumner has stated, “In tough times we wanted to reach out with a new song. We can’t play live for a while, but music is still something we can all share together. We hope you enjoy it… until we meet again.” You can listen to “Be a Rebel” below:
London-based artist/musician Brioni has a unique approach to her art, combining synth-heavy electronic music with her paintings which she uses as an electronic drum when performing live. Today she has released her new single “Timeless,” and it is sure to get you moving and features some of her most pristine production yet. You can listen to “Timeless” below:
It feels like this is the ideal time for a new “Deli Girls” album, but then again, I don’t think there’s ever a time when a “Deli Girls” album isn’t appropriate. The anger and frustration that is a reaction to the homophobia, transphobia, sexism, racism, and other forms of hate that unfortunately plague this country is completely warranted and will continue until things become fair in this country, if that ever happens. The Brooklyn duo wear this anger on their sleeves and use it to fight hate with abrasiveness and aggression. This isn’t your Hot Topic “it’s not a phase mom” teen rebellion oh no, this is revolutionary music in its purest form. Music that challenges you, confronts you, and antagonizes you, but with that being said, “Deli Girls'” new album BOSS is never overly political or bias. This music is a place where many of us who have felt misfitted or wrongfully judged can call home. The band could have gone in a direction that recycles their earlier work, becoming a predictable gimmick of themselves, but on BOSS it’s evident that the two have the musical vision and knowledge to match their unadulterated rage. Those who have said the band is one-dimensional will quickly eat their words when listening to this album, because along with the band’s simplistic yet impactful instrumentation that draws influence from Industrial, video game inspired synth-lines, and heavy distorted bass that will knock the framed pictures off your wall, the band explore new territory, incorporating even darker atmospherics and even featuring beautifully haunting harp and violin provided by duo “LEYA” on the track “Barriers to Love.” There’s even a cover of “Korn’s” song “Faget” which the band beautifully reinvents and turns into a new anthem. The band really outdid themselves with this one.