“gahdamn” is a futuristic, hype Hip hop song fresh from artist Yung Heir. It runs for approximately 2 minutes and 10 seconds and was released 5 days ago (October 11th, 2022). The beat is wonky and spaced out, with a synth that makes you feel like you’re on the Round-Up at the fair with its distortedness.
“gahdamn” is a futuristic, hype Hip hop song fresh from artist Yung Heir. It runs for approximately 2 minutes and 10 seconds and was released 5 days ago (October 11th, 2022). The beat is wonky and spaced out, with a synth that makes you feel like you’re on the Round-Up at the fair with its distortedness. The drums are also distorted and they go very hard. The lead is equally trippy, coming in the form of some sort of probe sound effect. On the track, Heir floats on the beat, flowing about his fashion and monetary choices as well as his love life. The delivery is smooth and crisp, and the adlibs are a lot of fun.
PullUp’s visual accompaniment is stellar. With a very sleek black-and-white color palette, it definitely creates and brings you into an atmosphere that is both dreary and surreal. It certainly matches Yung Heir’s aesthetic and the track alike. The effects on this one are subtle and intentional. With the glows, blurs, and glitchy footage, he extends the surrealism of the video; the more intentional 3D/matrix scenes and duplications elevate the video and the feeling it gives you. I also really like the super meta concepts that he uses in the video (the Windows text editor, the “u kno what goes here”, the “animated text”, etc.) The text message parts were also really clever, as well as the object identification. Overall, I would highly recommend that you check out this video and more from Yung Heir and PullUp Visuals.
Days prior to October 11th, 2022, I had heard the phrase “I took the wock to Poland” uttered in an assured, vibrato tone all around me. I was beginning to lose my sanity as I stayed up into the late hours of the night, pondering what such a statement could mean; to me, to my family and friends, to the world at large, the future of humanity. It only took 1 minute and 28 seconds until my life was changed forever.
Days prior to October 11th, 2022, I had heard the phrase “I took the wock to Poland” uttered in an assured, vibrato tone all around me. I was beginning to lose my sanity as I stayed up into the late hours of the night, pondering what such a statement could mean; to me, to my family and friends, to the world at large, the future of humanity. It only took 1 minute and 28 seconds until my life was changed forever. I heard the walkie-talkie, the F1lthy producer tag, and the ghoulish, disgusting bass-heavy intro, and then Lil Boat’s subtle vocals. My eyes were now opened, my mind freed, and my spirit sparked to life. I watched in awe as Yachty took to the streets of New York, meandering gleefully along them, spreading the phrase and the vibe to everyone. He has done it, he not only brought the wock to Poland, but the world at large. The Polish prime minister has now invited him to come to Poland and meet him. I could not resist the nagging temptation of uttering the phrase. I began to ask everyone if they had heard the song, and where from. It consumed my every waking thought, and I was nearly driven to insanity as I would sit in the cold shower with the lights off, quietly humming the beat in a fetal position and rocking back and forth.
On a more serious note though, this song is genuinely amazing. It’s so concise: the euphoric, hard-hitting F1lthy beat—its compressed, grimy melody, wavy lead, and entrancing drums and all. Boat’s vocals are also on point with it, as he brings this vibrato melody (you know, the one that subsequently broke the internet in like a few days—the video alone did almost 10 mill in a week and it is #1 trending on YouTube at the time of this article), which is simple and addictive “I took the wock to Poland”. His verse has the same effect, as he briefly touches on his pain and life. Side note, I think that it is really cool how big this song has gotten so quickly, and it feels full circle to me to see a collab like this, as someone who has been keeping up with these guys for a minute. Also, I did actually ask some people if they had heard it and where they did, as it is really interesting to me. I heard it through memes first, but with TikTok, other social media, and the creatives’ fanbases, there are tons of ways for this song to be discovered. It’s also awesome that Mateusz Morawiecki (the Polish prime minister) literally invited Yachty to Poland, that was not a joke. Not to mention, the Lyrical Lemonade video is sick. They planned and shot it in one day as well, which is cool to me, watch the behind-the-scenes video if you wanna learn more. They took to the streets of New York and Yachty was just being himself; there are some really cool effects and moments though, and you can tell that he brings his energy everywhere which is sick, shedding good vibes on bypassers. BabyTron also appears randomly in the video eating, which is also sick. Aside from Yachty’s performances, the cinematography (done by Franklin Ricart, Noah Keckler, and Cole Bennett) and colors (thanks to Loren White) are phenomenal. The VFX/3D on this video is also really nice, shouts out to Reduciano, Kayo, and Scissor Films. There are multiple iconic moments in this video (the little red car and the train with the bottle on the back just to name a couple). Overall, I would highly recommend this video and the song if you (somehow) have not heard it yet.
“COINCIDENCE” is LUCKI’s sublime new single, with a long-awaited music video from none other than Cole Bennett. Running for 2 minutes and 6 seconds, the track was released on August 19th, 2022, and it is a pleasure to listen to; it has potent production from Flansie & Samsson, with a melody that is deeply dreamlike, damn near putting me in a state of trance; I am able to listen multiple times on repeat without even thinking about it. It also has synths and sound effects in the background which amplify this effect, creating a very serene soundscape.
“COINCIDENCE” is LUCKI’s sublime new single, with a long-awaited music video from none other than Cole Bennett. Running for 2 minutes and 6 seconds, the track was released on August 19th, 2022, and it is a pleasure to listen to; it has potent production from Flansie & Samsson, with a melody that is deeply dreamlike, damn near putting me in a state of trance; I am able to listen multiple times on repeat without even thinking about it. It also has synths and sound effects in the background which amplify this effect, creating a very serene soundscape. Additionally, the drums on this beat are crisp, subtle, and rhythmic; perfectly complimenting the aforementioned elements of it, and adding some nice contrast. It creates this sort of grounded, yet floaty effect, on which LUCKI delivers a string of clean, pain-filled lyrics about his lifestyle, love life, and habits. He also goes deep into his past and how it affects his present. He does all of this in a manner that is sincere and self-aware. His flow is quick and smooth, cutting through the beat like butter.
The music video is equally eminent; bringing us on a fun trip through London with LUCKI and friends. They see a lot of interesting things and people, such as Darth Vader and the person that was sitting at the table and looking at them, and it is a very interesting experience to be a part of. We also get some sick shots of LUCKI in a silver 1967 Rolls Royce. They walk through the streets and go in a few shops and such, as LUCKI rocks out and gives us a signature performance that is both calm and collected but still hype at the same time. That is one element of his music/artistry that is very consistent: this kind of mellow hype, he is not usually raising his voice or dramatizing, but because of the energetic beats and his raw, authentic delivery, it creates an undeniable vibe. There are also some 3D-animated segments featuring a giant LUCKI walking through the streets of London, picking up a trolley, and just rocking out. This was done by 3D animator Kyle Parnell, a frequent Lyrical Lemonade collaborator. It is really cool, and I like the addition of it to the video a lot, it adds this element to it that is fantasy-like. There is also some CRT footage incorporated, which was done by Noah Keckler. Fun fact, prior to writing this, I did not know what that was, but it is called a Cathode Ray Tube, and it seems like a very complex camera, but it produces this insane effect that is near-impossible to replicate authentically. These are the clips that are kind of glitchy, and look a little bit like VHS. This video was released two days after “Double Check”, which is a 7-year-old song from LUCKI’s March 22, 2016 project SON OFSAM. It was released on the Lyrical Lemonade 2 channel in honor of the collab, along with the BTS video for the “COINCIDENCE” music video. It is always a delight to watch the process of these videos, and this one was done in like two short days on the fly, which is crazy. But in the video, Cole says that he basically wanted it to feel like classic LUCKI and classic Lyrical Lemonade: a fun run-and-gun video. He also said that he wanted to include a lot of London. I think that they pulled it off very well. In the BTS, they have a lot of conversations, reminiscing about how far they have both come, and saying that they have known each other for around 10 years, which is insane. They also meet a lot of fans and catch the attention of tons of onlookers, which is sick. After the shoot that night, they went to a sold-out show, and it was crazy to see from this perspective, as Cole says he remembers when he would perform at small venues with far fewer people. Also, I think that it’s super tight that he shot this one on his iPhone, as it gives it a fun, carefree feeling, although the quality is still on par with what we would expect from him. Additionally, it is a really big movement, as it shows people that they can also do this if they put their mind to it. Cole also includes some fun facts, saying that they shot the video in roughly 2 hours, and teasing that LUCKI will have his dream collab (probably Future, as Cole put an Eagle emoji after it) on FLAWLESS LIKE ME, his long-awaited project which is supposedly coming soon according to multiple sources, including Spotify themselves. I assume that this song is a promo or the lead single for it. Anywho, I am beyond excited for the project and super grateful to have finally gotten this collab. Overall, the song is emotional and raw, and the music video is fun and ethereal, complimenting the track very well.
Well, well, well, The Mars Volta is back. Their brand new music video for “Blacklight Shine” is one of the most spectacular pieces of art I have seen in a very long time. The video is drenched with Cuban culture and the occult if you know where to look. In the first seconds, my skin is chilled.
Well, well, well, The Mars Volta is back. Their brand new music video for “Blacklight Shine” is one of the most spectacular pieces of art I have seen in a very long time. The video is drenched with Cuban culture and the occult if you know where to look. In the first seconds, my skin is chilled. The artist who created the Pink Floyd album covers, DaVinci, and maybe even Salvador Dali himself would be jealous of the opening reels of this brilliantly amazing and creative music video. If you were to walk into this scene, you would be horrified to find a corpse next to an altar, but not surprised. The Mars Volta hits hard, even with chilled drums and a more uplifting sound. The refreshing yet old and somewhat repetitive sporadic rhythms and cadences of what The Mars Volta brings to the table are just that, refreshing! Compared to songs like Cicatriz Esp, which sounds like a mental illness becoming sentient (which also means it's good). But wherever The Mars Volta found the inspiration for Cicatriz Esp, they dug up and rediscovered that flame in this song as well as the video. The Queen Bee herself would blush in jealousy while Kanye West told Taylor Swift to let him finish once again. The video reflects upon the coming of age and the old traditions from our collective experience, the promising futures and fading pasts we come from.
An ocean is presented to us in the opening scene. As the video goes on, a prepubescent girl dances along to the rhythms of her older peers. She has learned from them and she dances to her own song, her own beat, and her own style. In the shadow, or even the footsteps of those who came before her. This music video represents many of us, who come from foreign lands to sprout new seeds and to share in the process of identity through culture and tradition. In a place where many may look down upon those traditions, it is because it also has rich and vibrant traditions. And as with anything territorial or tribal, it will vanguard its way into new lands. The video ends with a four-minute outro of Cuban dance, showing traditional garbs and something I would call weapons training. And while these traditions continue to thrive on the periphery of our society, they also flourish in sprawling communities. And will participate in the future of our collective conscience.
“Cash In Cash Out” is a hard-hitting, hype Hip hop track that is made for the Summer. Running for 3 minutes and 36 seconds, the track maintains the same high level of energy all throughout it. Produced by none other than industry legend Pharrell Williams, the beat, as expected, delivers nothing short of a head-banging roller coaster sugar high for the entire duration of it.
“Cash In Cash Out” is a hard-hitting, hype Hip hop track that is made for the Summer. Running for 3 minutes and 36 seconds, the track maintains the same high level of energy all throughout it. Produced by none other than industry legend Pharrell Williams, the beat, as expected, delivers nothing short of a head-banging roller coaster sugar high for the entire duration of it. With a very concise array of sounds, including the vibrating low-end, banging 808s, clanking drums, and the chopped-up vocal samples, the beat does infinite amounts of work with very little to work with. That is the beauty of this beat, it just naturally has a distinctive vibe. With features from two more industry heavyweights: 21 Savage and Tyler, The Creator, they do what they’re expected to. 21 Savage delivers a simple, yet effective chorus which really brings out the energy of the beat. “Cash in, cash out, cash in, cash out | Cash out, cash out, cash out, cash out”. His verse is delivered in a similar manner, with very few variations in the inflection of his voice. One of them that I liked was: “Put me in a third world country in the middle of the slums | I'ma turn it to a million dollar street (On God).” This works for him and the beat, and it continues to add energy to the beat and create this grounded hype feeling. Tyler’s verse, however, is much more dynamic, as expected. He uses a lot more inflections in his voice and raises the energy, boxing the beat. One of his verses that I liked was: “And if you wanna flick up, I don't want to (Ooh) | And if you say "No cap," I ain't trust you (Ooh).” There are also a plethora of minute samples and pauses in his verse which do a lot to add depth to the track. There is a duality created, as their verses are on very different wavelengths, but this makes the song that much more complete. The two bask in the fruits of their labor, rapping about their wealth and how it has affected their lives and lifestyles, as well as those of their families. According to whosampled.com, the track was originally supposed to be on one of 21 Savage’s albums, but Pharrell decided to use it himself. Also, upon hearing the beat, Tyler said that it was “the hardest shit he’d heard in his life.” Tyler sent the verse and then Pharrell immediately called him afterward and just gave him a strange look, but this was him giving him approval.
The music video is unique, highly creative, and like the song, very well produced. According to whosampled.com, it was directed by François Rousselet, and it utilizes CGI figures which resemble the style of claymation. The circular device on which all of the action occurs was inspired by the zoetrope, which is a circular machine that originates from the 19th century, and it allowed multiple images to be viewed in a short span of time, giving off the illusion of motion. The artists sent over performance shots for the 3D team to replicate. The production for this video took over a year, and it began during the pandemic. There are tons of cool little references and moments, such as when they are running with the Mickey Mouse hands, when 21 Savage turns into the Incredible Hulk, etc. There are also a range of vehicles in the video, such as the Tesla Cybertruck, the LaFerrari, and a bicycle, which Pharrell rides and does tons of cool tricks on. There are also lots of cool miniature items, such as watches, money, a money counter, and a keyboard which Pharrell plays. At one point, 21 Savage hangs upside down, and at another, he dangles someone, which is really cool. Another sick moment is when Tyler flips his microphone. There are also a ton of dancers in the video, which I thought was awesome. One of them is Tyler crossdressing, and I thought that was very interesting and forward-thinking. There is also a scene where brick walls crush behind me, and this was dope to me. The video utilizes a lot of duplication, such as when Pharrell takes off multiple pairs of the same shades, and when multiple Tylers keep on coming out of a briefcase. Finally, at the end of the video, we get a shot where their heads are revolving while they spit their verses, kind of resembling Mount Rushmore to me. At the end of the video, we get a nice aerial shot. Overall, this music video is vibrant, exciting, dynamic, innovative, and just overall an excellent addition to the track, which is already amazing as it stands alone.
“Distraction” by Polo G is a soulful yet energetic song that accentuates all of Polo's strengths as a rapper. The video accompanying this song is visually beautiful and impressive in its production.
“Distraction” by Polo G is a soulful yet energetic song that accentuates all of Polo's strengths as a rapper. The video accompanying this song is visually beautiful and impressive in its production. The video was released on June 3rd, 2022, and both the track and the music video have a runtime of 2 minutes and 51 seconds. The music video is directed by Christian Breslauer. The beat has a melody that instantly catches your attention, utilizing a catchy guitar melody paired with vocal samples that are reminiscent of R&B music. He begins the chorus just as the 808 enters; the latter plays in a satisfying ascending and descending pattern that synergizes excellently with the main guitar melody. Polo’s flow matches the beat very well, staying fairly consistent while changing slightly to add variation as a new verse begins.
The video begins with a scene that depicts Polo G being taken away in a squad car while a group of people, possibly representing either his fans or his family and friends are trying to help him out, but they are barricaded by the police. One of the people in the crowd is YouTuber Kai Cenat, who was also in the teaser for the video and recently made a Mukbang video with Polo G. He raps the line: “How I go so hard, they still discredit my talent”. The visual that goes along with the second chorus is very similar: he raps the same line, but this time, police officers strip him of his graduation outfit and diploma and force him to hold a placard with identifying information that convicted criminals hold in mugshots. One of the main themes seems to be that despite Polo G’s success and talent, there are still people in his life that discredit him and try to bring him down. This represents itself several times throughout the song and the video. One of the most explicit descriptions of this theme is in the line: “Bring out the best of me or be a distraction”. I love Polo G’s music because he is able to express himself and his struggles soulfully while also delivering flows that are fun to listen to. The beats he raps on are also particularly catchy. I haven’t watched many of Polo G’s music videos, but I was particularly impressed by “Distraction”, both for its ambitious, high-quality cinematography, and its deep metaphors and thought-provoking themes.
“SALLY’S LAST DANCE” is a funky, soulful R&B cut from the multi-talented UK-native artist, producer, and videographer JOEJAS, a.k.a. HairyMuffinMan. Running for 2 minutes and 42 seconds, the track gives off chill vibrations that feel just as much sincere as they do fun and energetic; it features a nice synth melody, a bell lead, and groovy drums. There is a plethora of sound effects and other subtle sounds which all unite to create a feeling that reminds me of dancing under a disco ball in a dim, colorfully lit room.
“SALLY’S LAST DANCE” is a funky, soulful R&B cut from the multi-talented UK-native artist, producer, and videographer JOEJAS, a.k.a. HairyMuffinMan. Running for 2 minutes and 42 seconds, the track gives off chill vibrations that feel just as much sincere as they do fun and energetic; it features a nice synth melody, a bell lead, and groovy drums. There is a plethora of sound effects and other subtle sounds which all unite to create a feeling that reminds me of dancing under a disco ball in a dim, colorfully lit room. Not to mention, these sounds also make for a deeper, more heartfelt vibe; this in combination with his staccato, high-pitched vocals, as well as the lower-range bars, tied together by the range of his inflections, heightens all of the aforementioned elements of the track, and that disco ball feeling they create. The arrangement also assists in the creation of this feeling, as it builds momentum and suspense with the spacing and placement of the various sections of the track. For example, the track starts with the chorus and then describes a situation, and because of the manner in which the track is arranged, the chorus takes on new context and meaning due to this situation. The subject matters that he discusses include a love interest he has, which he insists that he will see again, and dance with. The cut also details a situation that seemingly occurred at a party in which there was a mix-up over some out-of-pocket comments and they had to flee; this ties in directly with the love interest situation, as he had to leave her behind, but afterward he calls and apologizes in an attempt to make amends. This may be a reach, but I perceived that the title may also be a double entente, as it refers to the potentiality of that being his last dance with the said love interest, and it could also be referring to the person who made the comments and got rocked, as it could have been his last dance. Nonetheless, the track is raw, authentic, and deeply emotive while simultaneously still being fun and catchy, and maintaining a very high-quality mix and master. Also, it reminds me of Tyler the Creator’s music.
The music video adds a fun spin to the track, giving it a whole new life and making it feel like a cohesive experience that we get to live through with him and his friends, as well as his love interest, which in this video is an inflatable doll. We see him getting ready, and there is one of those rugs with the roads on them (the ones that you can like put toy cars on and play with, I used to have one of those when I was little and I loved it) in his room, which is sick. Then he gets on a bus and sings and performs on it. Shortly afterward he hops out at a party and performs there as well. He also catches up with his friends and talks to his love interest, and then the situation goes down; they knock the impostor (who is wearing a llama mask) with a skateboard, and then quickly dip out. They all run separate ways, and he hides out behind what appears to be a newspaper stand, before going into a phone booth to apologize to his latex lover (sorry about that one), there is a takeout box in there which I assume is unrelated. Then it cuts to a side-by-side shot of them talking on the phone in their bedrooms, in which he has whipped out the durag and she is bopping her head as he serenades her. Then he seemingly has a bad flashback and throws the phone and ends the call. Also, side note, Sally is a recurring character in the FAT LLAMA/JOEJAS world: she is the inflatable doll. This is her fourth appearance (to my knowledge), as she also appears in “SALLY”, “SALLY’S WHEELS”, and “SALLY’S HEARTBREAK PICNIC” Then we get some really nice performance shots with aesthetic backgrounds, such as trees and graffiti. The video ends with the impostor lying on the floor. Overall, it is very well-made, colorful, and creative, with a great story and tons of subtleties, and it adds a lot to the track. I especially like the incorporation of his merch into the video, as he is wearing it, some of his friends are wearing it, and his blow-up babe (sorry again lol) was wearing it, and she had a sticker in her phone case. We also get to see him skateboarding a little bit. Finally, the impostor was wearing a llama head. All of these things tie directly into his brand, FAT LLAMA, which is an independent label where he posts his videos, music, skits, etc. It is also a lifestyle brand that seems to heavily revolve around skating, having fun, and being creative. The brand has a website that includes clothing, events, and a radio station. It’s pretty cool. Overall, the video and the track are fun, thoughtful, and well-made.
EDIT - 6/21/2022 at 9:23 PM: This is actually the finale of the Sally series, and according to doogotouy.com and JOEJAS himself, this song is actually about various elements of multiple relationships that he has had all amalgamated into this one with Sally; it’s a metaphor for his love life.
“Pay Up” is the straightforward, electrifying new single from UnoTheAct (formerly known as UnoTheActivist), with a moody visual masterpiece to accompany it from LONEWOLF. It may also be the lead single to his upcoming project, Limbus 3. The track sees Uno talking about his lifestyle, and as per usual, living it up.
“Pay Up” is the straightforward, electrifying new single from UnoTheAct (formerly known as UnoTheActivist), with a moody visual masterpiece to accompany it from LONEWOLF. It may also be the lead single to his upcoming project, Limbus 3. The track sees Uno talking about his lifestyle, and as per usual, living it up. The beat, produced by Neonn and firemane, is high-energy and psychedelic, utilizing an 8-bit-like, digitized synth and hard-hitting drums. It gives Uno a strong canvas upon which to paint a picture of himself. And with witty bars such as “Hey, what's your name? I'm clueless | My Cinderella is shoeless” on top of the base ones for the chorus “What that money say? Pay up | I ain't in the NBA, I can't lay up” we get an honest glimpse into the fast-paced, thrill and wealth-seeking life that he leads; additionally, we get to see his personality shine through his lyrics, as he adds his own style and touch to describe how he lives. This, along with the music video from LONEWOLF, creates an iconic depiction of a true modern-day rockstar.
In the video, we get to see Uno vibing out in a bedroom, a chapel, and a field, as well as literally hopping out of a casket at the beginning of the video. This is a genius idea that gives the whole video a more lowkey, grounded hype; this complements the chapel scene very well, as while he is rocking out, we are reminded that this is also really his life that he is talking about. Additionally, the gloomy orangeish tints combined with the lighting, dust, and shadows give the video a gloomy, stuffy, and hazy vibe, which makes it that much more layered. LONEWOLF also incorporates many staples of his style, such as the paper cutouts, fast-paced cuts, and sick object transitions. And we can not forget the illuminated cross which is found all throughout the video as well, this is a symbol called the Passion Cross or the Cross of Suffering; it represents the pain that Jesus Christ endured when he was nailed to the cross. There is also a scene of Uno reading the Bible. Additionally, there is a scene where he has a staff, and this certainly depicts a biblical scene of a shepherd. Finally, the last thing that should absolutely be pointed out about this video is that it is the first premiere on WHYLONEWORLD, which is LONEWOLF’s sick new digital platform to share his work along with other people’s work to the world in an innovative, dope new way. Overall, I really enjoyed the video and the track, and I am excited to see and hear more from them.
“Where You Are” is an emotive, euphoric rollercoaster ride of emotions delivered by rising Pop star PinkPantheress with the aid of WILLOW. The track runs for 2 minutes and 34 seconds. The music video, directed by BRTHR, runs for 3 minutes and 11 seconds; it has a very immersive intro and outro which creates a world that helps to extend the one already present in the song.
“Where You Are” is an emotive, euphoric rollercoaster ride of emotions delivered by rising Pop star PinkPantheress with the aid of WILLOW. The track runs for 2 minutes and 34 seconds. The music video, directed by BRTHR, runs for 3 minutes and 11 seconds; it has a very immersive intro and outro which creates a world that helps to extend the one already present in the song. Both the track and the visual dropped on April 22nd, 2022. The song has this controlled chaos to it, as it hurls you in a million different directions; the structure of the song combined with the assuredness of the vocals create this backbone that makes you feel like a baby being rocked in a cradle, being told that everything will be okay. The production on the track, handled by PinkPantheress, Mura Masa, and Skrillex, utilizes a moody synth lead and airborne drums, along with godly sub-bass and a beautiful violin melody; there is also a very nice subtle synth under the main one as well that is super cool. Also, the song samples Paramore’s 2005 cut from All We Know Is Falling, “Never Let This Go” on the main melody; this helps accentuate and revive the strong sense of angst present in both songs Lyrically, the track touches on the perspective of being in a relationship that is riddled with uncertainty; wasting the days away in seemingly neverending self-doubt and questioning why it wasn’t enough.
The music video brings us into a blissful, vibrant world that reminds me very much of the party scenes and visuals from Euphoria. It utilizes hyperspeed flashing visuals that capture a wide range of colors and emotions. The video primarily takes place in this dark house on a hill at a party—there is a refreshing amount of uniqueness and individuality amongst the people at said party, and there is a band the artists sing in. There are multiple glimpses of this person with bleach blonde hair that I believe is supposed to represent PinkPantheress’ partner/ex-partner. Throughout the video, there are subtle shots of them making eye contact, in a way that is both painful and awkward, which is very accurate, and portrayed very well. There is also a fish motif throughout the video. There is a scene where PinkPantheress is standing in the middle of the club and a huge fish is swimming around in the air. She is also staring at a fish in its tank at one point—this time it is a small fish. Some other standout scenes include the ones where WILLOW is leaning against a wall and singing loudly (pictured above) and the one where she is in a room with the breaking glass. The ears that she has on are also iconic. Additionally, the video ends with a haunting visual of PinkPantheress standing in a hazy room. Overall, the video is a spark to the already electrifying track.
“Fire In My Heart” is a passionate song in which Trippie Redd is talking about his upcoming and past, as well as his current lifestyle, and how he was able to bridge the gaps between the two via overcoming his own personal struggles, as well as the darkness that he has been forced to shine through. That is ultimately the crux of the song, and the video, directed by DotComNirvan, is a huge extension of this metaphor; perfectly bringing the vibe that Trippie created to life.
“Fire In My Heart” is a passionate song in which Trippie Redd is talking about his upcoming and past, as well as his current lifestyle, and how he was able to bridge the gaps between the two via overcoming his own personal struggles, as well as the darkness that he has been forced to shine through. That is ultimately the crux of the song, and the video, directed by DotComNirvan, is a huge extension of this metaphor; perfectly bringing the vibe that Trippie created to life. I would describe this vibe as dark solemn, and almost medieval or gothic. This is done through the usage of various motifs, as well as the lighting and set design that was constructed to extend and enhance this dark vibe. The motifs include the candle and the mirror, They are really the obvious ones that create the feeling. The lighting is very cool and dramatic, and the set design is concise and effective, with elements such as the wallpaper, a tree, a table, and a cool hex-like mirror elevating the set. From there, the effects really bring it to life and tie it all together. The double mirror effect was subtle but crazy, and I loved it. The light beam effect was consistent throughout the entire video, and it helped to extend the feeling that he truly has fire in his heart. It was projected from the chain as well, which was really cool. Then from there, some signature 3D movement within the scenes to really create an immersive world and tie it all together.
The second part of the video is a completely different vibe. No effects, no crazy set design (I assume), no crazy lighting. Just some good, old-fashioned scenes of Trippie performing and being himself, with a cool outfit on that contrasts the background well, in a super cool environment with tons of cool objects. The entire second half is shot on/edited with some sort of filter/alternative medium, in a different aspect ratio, and it looks super cool. Additionally, the transition between the two is amazing. This is a completely different vibe, but it works, and I think that having both is good, because it has the element of flashiness, yet also manages to pull off a more simple, aged look. Overall, I think that Trippie and Nirvan really outdid themselves on this one, both on the song and the music video. Go and watch it now!
“Johan tries using alcohol to drown his feelings of uncertainty and existential dread.” That is the text at the beginning of this video. And it certainly sets the tone for the entire thing. Between Johan Lenox’s brilliant stylistic blend of the genres of Hip hop and Classical music into a successful version of Alternative, and one of Lancey Foux’s signature harmonic, emotionally-sincere verses, this track is 2 minutes and 16 seconds of pure bliss (the video is 3 minutes and 39 seconds). It was released on February 8th, 2022.
“Johan tries using alcohol to drown his feelings of uncertainty and existential dread.” That is the text at the beginning of this video. And it certainly sets the tone for the entire thing. Between Johan Lenox’s brilliant stylistic blend of the genres of Hip hop and Classical music into a successful version of Alternative, and one of Lancey Foux’s signature harmonic, emotionally-sincere verses, this track is 2 minutes and 16 seconds of pure bliss (the video is 3 minutes and 39 seconds). It was released on February 8th, 2022. The composition is beautiful, with moody strings, intense violin, and energetic drums. The vocal effects on the track are also very nice, as they create an extra dimension and in turn amplifies the emotions that the vocals evoke. The lyrics of the song are very reflective and personal, and they come with an UNBELIEVABLE level of emotional honesty and vulnerability that is very rare these days; both of the artists pick apart and separate themselves, as they discuss their struggles with their own inner demons, and how they cope with them (or don’t). They also remind themselves that they are blessed, and ultimately embrace that they are not always put together. As mentioned, the video begins with a text card that reads: “Johan tries using alcohol to drown his feelings of uncertainty and existential dread.” This is incomprehensibly relatable, so much to the point where I’m not even gonna go into it, but I’m pretty sure that a lot of us have been there before.
The video features Johan stumbling around and vibing in a room of colorful lights, cool-looking people, and a room of reflective material, as well as looking in the mirror at the beginning of the video. There are also people playing instruments in the video such as the violin, which I thought was dope and a great addition to the video. The scene with Lancey features Johan looking into a room, which then transitions to him in a smokey, dimly-lit blueish-white room with a dark curtain around it. This effectively creates the feeling that he is isolated from any trace of human life. Also, I must mention, he is literally wearing chains with a lock on them, which is a huge metaphor, and fits well with the song. To me this represents a lot of things: sex, money, and drugs alone can’t set you free, slavery still exists in different forms, etc. But in this context, to me it represents Lancey’s own personal feelings of being chained down and unable to escape. At the end of the video, Johan is sitting on a bathroom floor, leaning against a wall, very drunk when his friend says that he needs to slow down and that this only goes one way. It is true, addiction does only go one way. And overall, this video, and song, are a great testament to that, creating a self-aware moment of realization that the artists are messed up, and acknowledging that it is okay.
“Yoppas!” is an explosive, aggressive Hip hop track by Freshie, which was released on November 26th, 2021, and runs for 2 minutes and 25 seconds. The song, which was produced by 808Demon, has a beat that is high in both tempo and intensity. The track features a series of continuous, dangerous lyrics which match the energy of the beat, bringing a certain heat to it.
“Yoppas!” is an explosive, aggressive Hip hop track by Freshie, which was released on November 26th, 2021, and runs for 2 minutes and 25 seconds. The song, which was produced by 808Demon, has a beat that is high in both tempo and intensity. The track features a series of continuous, dangerous lyrics which match the energy of the beat, bringing a certain heat to it. The video was shot and edited by Zenen Saneshige. It brings Freshie into a world that very much reminds me of the Matrix. There are two glitchy, old TVs that do not work very well—but they are cool, and add a lot to the scene, occasionally featuring lyrics from the song on them—a chair that he stands on, blurred guns on the floor, or “yoppas”, and a singular green light. The video features him singing the song and dancing around, smoking, and standing in the rain. The visual effects tie his performances together very well, cleanly transitioning from one to another in a seamless way and utilizing creative objects to do so, such as the light fixture. Overall, the song is turbulent and high-energy, with fiery production and dynamic vocals. The video extends these aspects of the song by bringing Freshie into a world that brings out his energy and style.
“Couch / Drunk And Nasty” is a music video for two of Pi’erre Bourne’s songs off of his latest solo project, The Life Of Pi’erre 5, which was released on June 11th, 2021. The music video was released on November 16th, 2021 and it runs for 6 minutes and 39 seconds. “Couch” runs for 4 minutes and 23 seconds, while “Drunk And Nasty” runs for 4 minutes and 59 seconds.
“Couch / Drunk And Nasty” is a dual music video for two of Pi’erre Bourne’s songs off of his latest solo project, The Life Of Pi’erre 5, which was released on June 11th, 2021. The music video was released on November 16th, 2021 and it runs for 6 minutes and 39 seconds. “Couch” runs for 4 minutes and 23 seconds, while “Drunk And Nasty” runs for 4 minutes and 59 seconds. The latter song has a fun, carefree feature from Sharc. A small snippet of it is included in the video in the form of a trippy, vibrant party scene with strobe lights of many different colors, a really cool glitch effect, and a split-screen effect that shows more of the action at once. The scene is a nice addition to the video, as it breaks the tension of the more serious “Couch”. The video opens with a bunch of kids running around and Pi’erre waking up on the couch and then going into another room. The room which they are in is super cool and features a lot of artwork on the wall in the form of graffiti, and the same thing on the floor. All of it is extremely creative and adds a lot to the video, giving it a completely new vibe.
The video also features tidbits of an interview from Pi’erre, which contains some very insightful knowledge, such as when he is describing the process of getting to where he is today, and telling his old self to enjoy the process and excitement of the ride. The video also has a part where he is sitting in the same room talking to some people that are older than him. The juxtaposition of this with the scene of the kids running around is cool, as it kind of represents to me how he has grown up and improved, but he is still the same person in the same place. It also speaks to how he spreads creativity amongst people in a symbolic, unique way. There is also a really cool scene in a room with big objects that are usually little, and it is supposed to represent the inside of a couch, which he goes into after talking to a girl on the same couch. Finally, at the end of the video, there is a cool little animation of him flying up into the sky, and then some words of wisdom from a man. Overall, “Couch” is serious and heartfelt, and “Drunk And Nasty” is lit and upbeat, and the video reflects this in an innovative way.
“let you” is a melodramatic, infectiously catchy Pop song by iann dior, which was released on November 12th, 2021, and runs for 2 minutes and 46 seconds. The beat of the song consists of an upbeat melody that makes you feel as though you are floating in the sky, drums that evoke lots of energy and emotion, and an array of other sounds which add to the palette and make the song even more cohesive.
“let you” is a melodramatic, infectiously catchy Pop song by iann dior, which was released on November 12th, 2021, and runs for 2 minutes and 46 seconds. The beat of the song consists of an upbeat melody that makes you feel as though you are floating in the sky, drums that evoke lots of energy and emotion, and an array of other sounds which add to the palette and make the song very full and cohesive. The vocals feature iann singing and harmonizing about the relationship he had with who is presumably an ex-partner, talking about how he knows that it must become a part of the past and that their love is making him sad. He is letting go of her, and the song acts as an illustration of the process of him coming to terms with this. The video accompanies this idea very well, bringing a ton of action in a very small time frame. We are brought into an environment that is similar to a circus, with the beginning of the video being a miniature house and circus tent; this serves to extend the fact that all of this takes place in a fictitious world. The circus is gothically themed, and it features many people with striped and checkered black and white costumes, and some with other features on them. Iann is primarily wearing a grey suit, with a black and white striped/checkered shirt underneath. One of the girls in the video sports black and white as well, along with a neck ruff with red on the end. All of the wardrobe work in the video is excellent. Also, the notion of staging the video in a circus is very thoughtful, as it serves to “make a scene” out of the whole breakup, and the video features many elements to mirror that. These include the knife-throwing part, the Russian roulette part, and the end of the video where he is kind of saying goodbye to the girl behind the glass. Overall, the music video is extremely creative and entertaining, and the song is super catchy and fun, yet also sincere and impactful.
“outta here” is a euphoric, dissonant Hip hop track by Yung Heir, it runs for 1 minute and 55 seconds, and it was released on December 11th, 2021. It was produced by CamAce. The beat has a very trancey synth, which creates this feeling of dissonance within the track, and the 808 is hard and aggressive, grounding the track and creating a trippy ride. The track features Yung Heir rap-singing about how he is taking drugs and getting out of here.
“outta here” is a euphoric, dissonant Hip hop track by Yung Heir, it runs for 1 minute and 55 seconds, and it was released on December 11th, 2021. It was produced by CamAce. The beat has a very trancey synth, which creates this feeling of dissonance within the track, and the 808 is hard and aggressive, grounding the track and creating a trippy ride. The track features Yung Heir rap-singing about how he is taking drugs and getting out of here. The music video, which was directed by PullUp, extends this feeling of dissonance and this notion of getting out of here, by actually doing just that. They bring us into a world that is dark and dismal, with a gothic feeling to it. We see lots of spiders and thunder and get a ton of trippy effects which feature multiple of the artist. These things, especially the dark and the spiders, act as a metaphor for what the artist may be thinking or feeling when taking these drugs. We are brought into a dark manor, a dark field, and sent flying through the clouds. All of this scenery helps to really bring us into a world that is seemingly constructed through pain. Overall, the song and video accompany each other very well, creating a cinematic journey through a dark world with a soundtrack that is exciting and energetic.
Wake up honey, a new LUCKI x LONEWOLF video is out! "New Drank", which was produced by flansie, is heartful and despondent, with a grave, yet thumping beat. The video is exciting and dynamic.
Wake up honey, a new LUCKI x LONEWOLF video is out! I have been keeping up with these two, respectively, for a while now. LUCKI is a talented artist with a unique ability to recount his experiences in a way that makes you really feel and relate to him; he also has a great beat selection ability, as the beats that he chooses carry distinctive energy that is quintessential to his sound. LONEWOLF is an exceptional videographer that is able to create an entrancing visual narrative for every song that he makes a video for. “New Drank” is no exception for either of them. Released on October 12, 2021, the video runs 1 minute and 42 seconds, and it is packed with action. It is an exciting sequence of clips showing LUCKI living his best life: recording music, hanging around with friends, and just chilling. It is made in a way that makes the entire song and video feel like a true experience; this is done so through the vibrant array of colors that are present in the shots and the order that LONEWOLF chooses to put them in, the fast pace created by the numerous cuts and the high variation of shots, the seamless transitions, and the content that the shots contain. The lyrics are also typed out on the screen, which is very nice as it makes you feel what he is saying even more. All of these elements work together fluidly to create a dreamlike visual trip that accompanies the song very well. The song, produced by flansie, is heartful and despondent, with a grave, yet thumping beat. There is also a very nice snippet at the end of the video. Overall, the music video is an exciting and dynamic extension of the song which does a great job capturing the vibes that it emits. Go and watch the video for “New Drank” now!
“White Sheep” is a concise and profound track by Bat Boy Bankie that runs for 1 minute and 6 seconds. It was released on September 26, 2021, and it has a super funky and soulful beat produced by Givtyd, along with brilliant lyrics about Bankie’s childhood and upbringing, along with his present life and struggles.
“White Sheep” is a concise and profound track by Bat Boy Bankie that runs for 1 minute and 6 seconds. It was released on September 26, 2021, and it has a super funky and soulful beat produced by Givtyd, along with brilliant lyrics about Bankie’s childhood and upbringing, along with his present life and struggles. The video is very simple and effective. Made by GuapRuns, it is one scene, yet that is what makes it so unique and engaging. It features Bat Boy Bankie sitting in a car with leaves on it, and the backseat is filled up with white mannequin heads that have faces drawn on them. He is wearing a black hoodie and something black is draped over the window that he is looking out of. He is surrounded by leaves and trees, and there is a fence in the background along with a house behind it. The video features the artist rapping the bars of the song while staring into the camera the entire time, as the camera is zooming into him. It is such a stark scene, with such a high dynamic range and so many elements, and that is why it functions so well. The video is overall a very polished and beautiful piece of art, and it does a great job of keeping you listening to every second of the track; which is important, as it is a very action-packed track with lots of high-quality lyrical content. Go and watch the video for “White Sheep” now!
“WE BUY THINGS WE DON’T WANT WITH MONEY WE DON’T HAVE TO IMPRESS PEOPLE WE DON’T LIKE”. That is what the sweater he wore in this video says. I thought that was very true and interesting, and worth pointing out. But aside from the sweater, this video is very interesting and well-executed.
“WE BUY THINGS WE DON’T WANT WITH MONEY WE DON’T HAVE TO IMPRESS PEOPLE WE DON’T LIKE”. That is what the sweater he wore in this video says. I thought that was very true and interesting, and worth pointing out. But aside from the sweater, this video is very interesting and well-executed. Released on September 3rd, 2021, the “Keep Up” video has flashy visuals, such as a plane crashing behind him with smoke at the beginning of the video. Not to mention the 3D text and other 3D objects such as eyeballs, guns, broken glass, blood, double cups, a brain, and dollar bills—which at one point have the word “FAKE” written on them when he says the fake line, which is super cool in my opinion—the video certainly has a lot to keep you engaged. Additionally, the color palette is very vibrant and looks great, with a very lucid blueish-orangish tint on it. There is also a part in the video where he is dancing and singing with an elderly man, and I thought that was dope and that it added a lot to the video. Additionally, the locations they chose for the video were very fitting and interesting. This all ties into the style of BoofBoiIcy, and how he expresses himself. The locations, performances, and outfits are remote and lowkey, but they still have high energy. Meanwhile, the visual effects are flashy and high energy. This combination, along with the song being good, makes for a very engaging and worthwhile experience; Tiny Tapes and Orazio certainly did a great job on it. Also, the beat for the song was produced by SWVSH, and it is super dope. Coming off of the release of ”Cut It”, which was also covered by Nosebag Media, BoofBoiIcy is certainly building a lot of momentum for his next project. Also, he just dropped a single on October 1st, 2021 called “U Can Have It”, which is also great. Definitely check out the “Keep Up” video, and be on the lookout for more new music and/or videos from BoofBoiIcy in the near future.
Wow. Just wow. For this one, I listened to the song first, and I was blown away. So then I was wondering if it had a music video for it. And to my delight, it does, and this video is amazing. Starring a small, adorable dog as the subject, we are brought into a beautiful world of toys, flowers, animals, and so much more. It is literally a bunch of colors and shapes.
Wow. Just wow. For this one, I listened to the song first, and I was blown away. So then I was wondering if it had a music video for it. And to my delight, it does, and this video is amazing. Starring a small, adorable dog as the subject, we are brought into a beautiful world of toys, flowers, animals, and so much more. It is literally a bunch of colors and shapes. This voyage that we are brought on also accompanies the song very well. For example, when Mac says “[w]hile beneath the ocean, I met with the captain…” the dog is picked up by a large, whimsical figure that resembles a captain, and then when Mac says “...[t]hen let yourself slip...", the dog falls into the ocean and continues his journey. Two things that I want to point out from this scene: 1. the dog uses a cassette tape as a boat, which I think is a very cool metaphor 2. the part where the captain puts a hat on his head is adorable. Then he ends up falling from the sky into a wasteland of colorful shapes, which by the way reminds me very much of the Isle of Dogs. There are some monsters that form out of these colorful shapes, and then the dog barks at them and scares them away, then he goes into outer space and this concludes his journey. The dog is in his bed most of the time, and that works as a motif for this being inside of the dog’s dreams, which is really interesting. The video ends with a picture of what seems to be some sort of studio, possibly Mac Miller’s home studio. Director Sam Mason, production company Hornet, and the many other talented people who worked on this did an excellent job. Overall, I feel that this video is compelling, aesthetically pleasing, and suitable for all audiences. It also has an excellent metaphorical message which promotes thinking deeper and living better. Long Live Mac Miller.
What do you get when you put Lyrical Lemonade in a blender with Nick Mira, Whethan, and a rising talented Hyperpop artist? “1984”.
What do you get when you put Lyrical Lemonade in a blender with Nick Mira, Whethan, and a rising talented Hyperpop artist? “1984”. I’m not sure how this equation works out, but it creates a very complete, aesthetic, and satisfying product. I have seen Glaive’s name quite a few times, primarily through Lyrical Lemonade associations, such as their playlist and the second channel, Lyrical Lemonade 2. Regardless, I should have listened to his music before now. He is a resident of Hendersonville, NC, which is dope, and he is currently a junior in high school. ”1984” is an excellent track that gives off heavy vibes that somehow float around between a fun summer road trip, high school heartbreak, and raving at a massive festival. However, considering the contents of the video, and the fact that I watched the music video before I heard the song, this is no surprise. The video sees the artist going on a road trip through the woods with an unsettling, yet oddly beautiful metallic 3D woman driving. There is also a really cool scene weaved in with an animated version of the car on the road. Additionally, in the opening scene, he is laying on the hood of the car doing a performance while it’s in motion, which I thought was really cool. There is also a guy in the backseat who appears to be frozen; he only makes one appearance throughout the video, which is very interesting. After the opening scene, the talent lovingly holds hands with the “woman” and then the beat drops, setting the tone of angst and heartthrob, and bringing us into a sequence of very cinematic shots all throughout a forest, with cool architecture incorporated as well—e.g. a maze and a stone platform. There is also a cool house with lots of chairs and plants. We are given another cool performance where he is seemingly performing on some sort of platform at an empty sports field. Then we are brought back into the forest, except this time to a white green screen that has been set up on the forest floor. Cole creatively uses this concept to mess with the subjects’ saturation as well here; it gives me Yamborghini High vibes. Then we get an aerial of the lake that was briefly shown earlier in the video, leading into a cool little animation of mini-Glaive and his mini-“lady” running in the forest. This brings us to a lake scene, the same one that closes the video out, as well as more forest scenes. This segment includes what is probably my favorite clip of the video—the one where Glaive is in the forest walking into multiple versions of himself. This appears to be a similar take on the effect in the Sicko Mode video where Travis is walking in front of the pool. Then he goes to the car only to discover that his Karen Plankton is not there, she is sitting in front of the lake “crying”? I think that it’s really cool how they were able to pull this much emotion out of the 3D model so smoothly here. Then comes the second beat drop, along with what appears to be Glaive telling his (now ex) “girl” off, and another explosive sequence of performance shots, this time without Karen there. The music video certainly painted a permanent picture in my mind of Glaive and “1984” alike; this may be because it was my first impression of both, but regardless, it did the job, and the aforementioned associations I now have with the song tie in directly with the video. Cole, his crew, and Glaive have all done an excellent job here, and Glaive has proved himself to be very capable of performing; the emotion and expressiveness that he has shown here both in the song and video are enough for me. He could certainly be a superstar if he continues on the already-promising path that he has paved for himself, especially considering that he is only 16 years old at the time of writing this, and simultaneously signed to Interscope Records. The project that this song came from: all dogs go to heaven, is a very emotional, explorative, and cohesive listen, and it only asks for about 17 minutes of your time. Be sure to check out the video for “1984” as well as Glaive, his EP all dogs go to heaven, and Lyrical Lemonade.