Some bands just make it big, and make it big frustratingly quickly, don’t they? Consider this: British five piece Zulu Winter release their first single in November 2011 as relatively unknown, indie-Brit dudes; By May the following year they’re supporting Keane on a UK tour, they were the first announced headliner for Australia’s beloved Splendour in The Grass, and now they’ve got an impeccably shiny, totally beguiling and extremely cinematic clip to accompany their latest single, “Silver Tongue”. Those lucky bastards. And although the thought of “Silver Tongue” instinctively triggers Lisa Simpson and Hans Sprungfeld, what filmic artistry/magicianary director Alex Turvey has spun over this clip is nothing short of ravishing (yep we just called a video clip ravishing: ravishing LIKE A BEAUTIFUL LADY, OK?).

Apart from making excellent music videos, Turvey also spends his time making fashion videos, short films, commercials and art, i.e. he’s basically a manic artiste that we’re all jealous of (The Independent called him one of the “15 Creatives Who Will Define The Future of British Arts”, and his incredible website full of beautiful things is pure, jealousy-soaked torture for any budding filmmaker.

We’re not sure what floored us most about this clip; was it that car and those outfits, or was it the overwhelming feeling of being able to understand what pain has gone through those scarred characters? Was it the piercing reality — the full footed, whole bodied reality of it — from glazed over eyes and desperate stares, or was it just that glorious red and blue? Or was it simply the feeling of dissatisfaction at its end, because we felt as though we knew just a bit too much about that couple and that we deserve to, need to, know more? Whatever it was: a flawless clip makes for a floored audience.

We picked the brains of Alex Turvey mostly because we were dying to know, “How do you make such beautiful things?!?!!?” Alas, he was a little more eloquent, a little less hysterical, than we managed to be:

Portable: Had you always wanted to create a clip like “Silver Tongue” and had the idea before, or did the project come up and then Zulu Winter/”Silver Tongue” spark the idea?

Alex Turvey: I have been looking to create a cinematic music video for quite some time so there are a couple of ideas in the film that I had been waiting to bring to life with the right track, but 90% of what you see on screen was written specifically for “Silver Tongue” as a response to the music.

P: The art direction is amazing in your clip, how closely did you work with the art department/how important is that element in bringing a music video together?

Alex Turvey: Thank you! Closer than close is the answer to that one. Every single frame you see on screen I have obsessively illustrated by hand storyboarded and designed before the shoot.

When I first started working in film I would play every single role in production, even down to the effects (I actually did 95% of the effects and compositing on “Silver Tongue”, which hurt immensely!). I still design all of the sets, costumes and effects in my work, but the bigger the project the more crew you need.

I worked very closely with my good friend Art Director / Artist Christopher Jarratt to bring “Silver Tongue” to life. He has a good understanding of how I work and tolerates my absurd requests.

P: The clip has some really cinematic moments. What films and directors did you feed off (inspirationally) for the clip?

Alex Turvey: Although I didn’t directly reference him there’s a slight Lynchian vibe shining through unintentionally, as well as the more blatant tip of the cap to Hitch.

P: Have you developed the story and characters in the clip deeper than what the video reveals? Who is this couple? What are their scars?

Alex Turvey: I’m completely OCD when it comes to film preparation, so I ended up developing an unessercarily epic story behind each character considering how minimal the performance actually is.

I wanted to make sure both the amazing Anna Walton and Charlie Cattrall had enough background to bring life to their character and interpret the story in their own unique way.

The opening scene relies entirely on the subtleties and body language between the couple, I needed the tension between them to be real so we purposefully kept them apart on set to help create the awkwardness.

There are clues in the video as to why we are witnessing Charlie’s internal unraveling but I wouldn’t want to give it up, I like that the viewer can come to their own conclusion.

P: You’ve done music videos before, what do you find so special about the medium? How are the challenges different from, say, making a short film, or a fashion film?

Alex Turvey: The process of bringing any idea to life for me is an incredibly rewarding one. Its an amazing feeling when, on the actual shoot day you realise that you are stood inside a physical representation of an idea that only existed in your head a few weeks ago.

If, like the rest of us, you’ve fallen a bit head over heels with Turvey’s work, why not hop on over to London and check out his solo show? Guaranteed to be amazing.

All (above) film production stills by Richard Johnson.

Tributes to the Beastie Boys’ late Adam Yauch keep rolling out, and we think we may have uncovered a new favorite. The Beastie Boys’ famous Spike Jonze directed video for “Sabotage” (1994) has been remade — with kids reenacting the action. The video, created by Portland filmmaker James Winters, sees Winters’ own children and nephew in the roles of the Beastie Boys as the cops-and-robbers action-packed story unfolds. We’re not going to lie; it’s pretty damn adorable. You can watch the original below, or check out our archival ode to Adam Yauch, through the Beastie Boys in rare video.

Click here to view the embedded video.

[via Pitchfork]

Lil Mama, come back! The world needs you now, just as much as Avril needed you in 2007.

In its original incarnation, “Girlfriend” was a perfectly adequate pop song, with Lavigne stomping and chanting in “sassy” mode. But chanting isn’t rapping, and cowriter/producer Dr. Luke had the supremely good sense to remix the song with Lavigne’s verses swapped out for rapid-fire spitting by the hip-hop artist who had redefined “sassy” with her tauntingly minimalist brag about slick lips. Lil Mama finally released a complete album, the uneven VYP (Voice of the Young People), the following year, but she’s never been better than she was as Avril’s “Girlfriend” foil.

The video, directed by R. Malcolm Jones, has the odd couple cruising around in a convertible and even cuter modes of transport (scooters, etc). Lavigne rocks her signature emo-schoolgirl look and generally hangs out looking Canadian while Lil Mama rocks out in high Brooklyn style with hoop earrings, chains, off-the-shoulder sweats, and unmistakable hand gestures. “When you see me in the drop-top shades in the summertime blazin’, you wanna be my boyfriend.” Sorry, Avril, looks like you’re second in line again.

Of course, that hypothetical guy choosing between leaving his girl for Avril or for Lil Mama might have had a suspicion that there would be more drama involved in a relationship with Lil Mama than with Avril, “Why’d you have to go and make things so complicated?!” Lavigne — and he would probably have been right. Since 2007, Lavigne went on to end her marriage with bad boy Deryck Whibley and released an album that, despite (or perhaps because of) being a stripped-down effort called Goodbye Lullaby, vaulted into platinum status. Meanwhile, Lil Mama’s album was a critical and commercial disappointment; in recent years she’s been best known for crashing Jay-Z’s set during the 2009 VMAs and for weeping with emotion when a Brooklyn team performed on America’s Best Dance Crew.

Pull it together, Lil Mama! We want you back.

Words by Jay Gabler, a co-founder and co-editor of The Tangential.

James Aviaz is the guy to go to for new music. And we’re not talking about your run-of-the-mill Top 40s or Pitchfork “Next Big Things”; we’re talking lesser known, genuinely talented artists that are sure to explode from general obscurity into Top 40 and Pitchfork “Next Big Thing” status. As the Editor of Records Abroad, James’ speciality is “Highlighting amazing new music from outside the US and England.” If you need more proof, look no further than his International Playlist for Portable, a delightful mix of music you probably don’t even know of yet from all over the world. Stay one step ahead of the crowd, and be damn sure to impress people at parties when you subscribe now via Spotify.

SUBSCRIBE TO JAMES AVIAZ’S INTERNATIONAL PLAYLIST NOW!

After the Internet imploded a little bit due to Grimes‘ perfect video for “Oblivion“, we thought the next one could hardly be just as good. But now that the video has gone viral for “Nightmusic“, Claire Boucher’s embodiment of otherworldly characters to her equally as otherworldly and arcane sound — she has people talking once again.

She starts off almost angelic (in the darkest way, of course), mystic, and haunting — the cross-dissolves make her even more elusive than usual. Grimes plays the part of an earthly imp that sprouted from the dirt and has taken over Mother Nature’s position, and is playing some weird voodoo with her two naked playthings.

The follow-up clip is taken from the ever-successful Visions, and sets the benchmark for whatever ‘night music’ actually is.  The vid is directed by fellow Montréal dweller John Londono in the woodlands, on a foreboding night, when Grimes come out to play.

Just when I was about to say “oh, well she’s not wearing one of her pussy rings“ — no, she is. As if she wouldn’t be.

[via consequence of sound]

Next month sees the return of South American party-starters Bonde Do Rolê, when they release their new album Tropicalbacanal. It’s been a long time since 2007’s With Lasers, when you couldn’t escape either their riotous baile funk jams or the nagging suspicion that these lyrics you were chanting might mean something filthy. Still, if the new video for “Kilo” is any indication, not much has changed in five years.

The Bonde Do Rolê aesthetic is an explosion of colour, life and sound, with a slightly weird twist to everything. ‘Kilo’ is an odd couple pairing of spaghetti western soundtrack and sensuous baile funk, and the video pretty much runs with this idea. Argentinian production company Flamboyant Paradise bring to life a saloon covered in fruit, where a Stetson-sporting Diplo judges a few popozuda on their ability to ride a mechanical sumo bull. Bonde Do Rolê themselves provide the live music in this bizarre venue, scratching on pineapple turntables and plucking at banana guitars.

The bizarre visuals sit just on the right side of postmodern kitsch, and are probably as accurate a representation of the playfully global Bonde Do Rolê sound as you can get. And, once again, that Portuguese chorus you don’t understand is lodged firmly in your head after three minutes.

Side note: why don’t more bars have fresh fruit available? I smell a gap in the market.

Artist and producer Alan Wilkis has never had, or been, a stalker. He can still feel sorry for them though, maybe because he knows a thing or two about unrequited love. “There was this one girl back in college that I was painfully obsessed with. It’s crazy how badly someone can dominate your thoughts, mess you up, and not even know you exist. Good times…” Hopefully he never adopted the predatorial behaviour of the one part complex, two parts creepy photographer’s assistant who features in the film clip for his latest song “Shadow”, a collaboration with CA rapper Lyrics Born and indie darling White Hinterland.

“Shadows” is the latest instalment in Wilkis’s PRINTS project, a series of singles in which he independently creates an instrumental piece of music and then enlists a vocalist to complete the track — essentially breathing new life and perspective into what Wilkis literally listens to 100′s of times before relinquishing over to the chosen collaborator. He describes this process as, “A little scary, but exhilarating and exciting,” sometimes magical and other times requiring him to step in as producer and, “Tilt the steering wheel” towards the elements he does like in what is presented.

Constructive criticism is key. Where each track is different collaboratively, in the case of “Shadow”, Wilkis and Lyrics Born have never even met. After deciding that the rapper had the perfect voice for the track Wilkis approached his management, who readily agreed — from then contact was limited by geography to nothing more than an initial phone call to discuss the overall concept of the piece. You wouldn’t guess it — their disjointed, autonomous work practice is a risk that paid off. “Shadow”‘s haunting, surmounting instrumentals are drawn out by the rapper’s story of the all consuming woman he can’t forget. Contrasted by the ethereal female vocals of White Hinterland, the perfect blend of tension and duality is created.

The film clip for the track takes what could, from the lyrics alone, be a passionate love story, into definitely twisted territory. Written and directed by founder of Lucky Branded Entertainment and Brooklyn filmmaker Ryan O’Hara Theisen, the mini film was inspired by late 1970′s John Hedgecoe photography and Theisen’s own days in the darkroom spent voyeuristically inventing lives for the models he shot. It will make you feel unnerved, intrigued and most of all compelled to watch until the very end. Is that sympathy or repulsion for the infatuated photographer’s assistant you’re feeling? Probably both, most likely because, according to Wilkis, “We’ve all probably fantasied about something like this”. Go on, admit it….

Sourcing their visuals from “dreams” uber creative directorial duo Fleur & Manu have created just that, a dream-like adventure into nostalgia for Modular staples Canyons latest video for upbeat indie-pop meets dance track “When I See You Again.”

The directors, who have created videos for the likes of M83, Sebastien Tellier, Tricky and Bag Raiders, summed up the experience musing, “The track is so weird, a flamenco guitar used by an Australian band with the voice of a vintage English singer, shot by French directors, come on, it had to be a mess!” Well it’s definitely a hot mess we want to dance to all summer.

Fleur & Manu explained their concept of marrying the musical elements of “When I See You Again” to their nostalgic visuals to Portable, “The idea was to visually connect what we heard when listening to the track. In a raw way, not asking ourselves if it was cool or not. The global inspiration comes comes from LIFE, with a big ‘L,’ birth, death, meetings and happiness. It’s a roller coaster where everything melts. A condensed trip, a bit like when you die you see all your life in few seconds.”

Unlike the standard music video, “When I See You Again,” focuses on contrasting imagery rather than the artists. Shooting 99% of the footage themselves on a varieties of forms, from Super 8 to VHS, Mini-DV, 5D, the duo were able to choose what feeling to inject into what shot.

Fleur & Manu said of the decision, “It’s a bit like when you watch a playback music video. In this case people sing and it makes us think of five different things at the same time! We can’t focus and we start to trip [laughs] we promise next time we’ll focus on the singer, but it’s hard… ability of focus: ten seconds maximum!”

“When I See You Again,” is not just a mind numbing dance track by any means, fusing a more DIY aesthetic, as well as nods to the past and elements such as indie rock and folk creeping in to the track’s subtleties. Ryan Grieve and Leo Thomson who make up the band have followed this direction on their debut LP, Keep Your Dreams, and this created an emotive response from the directors.

“Visually connecting to the emotion you can feel when listening to the track. Reinforced this strong message, ‘we never totally forget the people we loved, and the one that loved us.’ You always come back to ‘what if?, and so you start to trip, because you invent an epic life, or a psychedelic one!,” said Fleur & Manu.

We’re inspired to get out our polaroids and create some sundrenched memories set to a Canyons soundtrack. Collage your life!

Don’t pretend you don’t love Xtina. And don’t pretend you don’t call her Xtina. Growing up with Christina Aguilera as one of our biggest pop influences, we learned one or two important life things from her videos. From some of the most iconic visuals in pop history, here’s everything we learned from Xtina videos, starting from, of course, the genie rub…

“Genie In A Bottle” (1999)

Being a teenager essentially means bearing your midriff with pube-skimming lows, wearing blue eye shadow, dry humping sand on the beach at night and dick-teasing beautiful sporty looking men with creepy, ageless smiles that may or may not be 30.

We love director AG Rojas. There. We’ve said it. Someone fund the man to make a feature length film already. The new single from Congorock, “Ivory”, is ample evidence that Rojas’s creative skills are chomping at the bit and for all the glory that YouTube’s dinky little videos bring, this shit needs a cinema screen.

“Ivory” follows the story of a teenager with blonde dreadlocks and a slight substance abuse problem through one day of his life. We see him at home, wandering the streets, making out with a cute girl and getting into some amount of trouble with a man in the back of an SUV. This boy — just like other actors featured in Rojas’s work — is underworld and otherworldly at the same time.

I only have one complaint. My laptop screen is not big enough to take it all in. The locale is stunning and the change in light quality from daytime to dusk imparts a tarnished beauty to the boy as he is fleeing. There is something of a discrepancy between the feel of the clip and the kind of music however — while the dynamism of filming is one attempt at overcoming it, there is perhaps only so much you can do with electronica without reverting to pulsating colours and references to space travel.

Congorock is playing shows across Europe in May. For dates, check here.

[via Spinner RPM]