27 December 2011


This is dedicated to the fans of Mutineers…

Last Christmas, I posted a review of Mutineer’s “Friends, Lovers, Rivals” (link to review) and one month later had the opportunity to interview band member Michael Reed (link to interview). One of the questions I asked was if the band had any plans on coming to America; of course, the reality of this has more to do with the business aspect of the music industry: have enough units sold to mitigate a voyage across the Atlantic. Mutineers were in that precarious nebulous space that many nascent indie bands find themselves: though the music is incredible, the spreading of the word of the music has been arduous. The band only played one show this year, a festival, performing side-by-side with the likes of Bad Lieutenant (Bernard Sumner’s [of New Order fame] band), The Buzzcocks, and The Charlatans, while individual members of the band had been working on separate projects. But in this post-broadband revolutionized world, anyone should expect the unexpected and Twitter happened.

Mutineers / Photographer: Scott Kershaw

Just head over to Mutineers’ Twitter page. Slowly but surely, the number of followers have started to increase, the band started trending on Twitter (#mutineers), and getting messages from indie music fans, who have been known to quote the lyrics of songs at the band. But this has not happened because there is nothing better to do on Twitter, this has started to happen because of the quality of music that Mutineers have made available. If the quality of the music or its visceral impact on people were nonexistent, this trend would not be happening, and at this point I feel the need to quote my original post on Mutineers: “So why Mutineers? One, one should always support nascent bands, especially one as talented as Mutineers. Two, “Friends, Lovers, Rivals” (which could be the name of a chapter in anyone’s biography!) is an adventure through a luscious soundscape that is infectious and vividly striking, with intricate arrangements that are heartfelt.” I think this is what fans understand.

So if you did not or did not have the opportunity to read my review on “Friends, Lovers, Rivals” or the interview, click on those links above … and if you like what you are reading/listening to, head over to Twitter and send the band a message. It is important for us, as listeners of music, to support the bands we like, and in this current environment in the music industry, where numbers mean more than (nurturing) talent, it is important to have your voice heard somehow. This is the reason why I always include the contact information for the band under “Keep up with…” towards the end of every post. Every post, every Tweet matters; without the support from fans, any and all band will fade away into history – so if this is a band that matters to you, join the mutiny.

Keep up with Mutineers at their MySpace, Facebook, and Twitter.

Here is a stream of “Stick Together” form the armstrongthomas YouTube Channel.

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The Silent Numbers: "Calculator"

I am not going to play hypocrite – I listen to tons of music that is produced by major labels and have more corporate sponsorship than it deserves. And I am not going to be naïve – most self-recorded and self-produced music is quite often horrible. So I think any savvy fanatic of music is going to listen to a wide range of not just music, but a wide range of how music is produced. And again and again this year, it has been two kinds of artists that have really reaffirmed my love of music. The first, not pertaining to this post, are veterans. The second are the truly independent artists, who understand music as art (not just business) and are truly producing some of the best music out there. The Silent Numbers is one such band, and their release of “Calculator” (3 July 2011), released as a four-track digital download or a physical three-track, is a collection of non-traditional shoegaze. Unlike the majority of contemporary shoegaze on my radar, which is heavy on the dream pop, this is shoegaze more grounded in traditional post-punk. Shoegaze, which traditionally relied heavily on noise and dream pop, is sonically an expansive genre, and what is on display with “Calculator” is a darker (dare I say more sensual) take of shoegaze that is riveting and infectious.

The collection opens with “Calculator Watch.” With a thick “dark” bass and subdued but harmonious vocals, this song is very reminiscent of the late 1970s and early 1980s post-punk. The bass propels the song, with the assistance of very symmetrical drumming, while the guitars in this song are very reminiscent of the post-punk guitars of bands that bordered on or gave into the gothic movement. But just like the second track, “Canadia,” which is an instrumental, the point is not to revive a post-punk sound. Rather it is to bring out a new dimension and possibility for shoegaze. Right from the first two tracks, especially since one is an instrumental, it becomes obvious that the band is placing a lot of emphasis on the listener’s visceral reaction to the music. The fact that this instrumental is so strong and alluring that you never long for words/vocals is evidence of songwriting chops – something that most contemporary bands cannot pull off.

The second half of “Calculator” takes the band in a different direction. “Foundation” is sultrily mysterious, as the initial guitar arrangement builds anticipation and a very asymmetrical bassline creates cohesiveness, the song really has hints of space rock (without the cheesy key arrangements). The breathy vocals (the only hint of dream pop) are subdued but create a beautiful counter-melody is the chorus. The closing track is “Ruthless.” With a soft opening, which lasts through the two-thirds of the song, inspiring a hopeful feeling, the song then becomes cacophonous for nearly a minute, before regaining its softness. Symbolically speaking, the song is more about the calm before and after the storm, the sort of serenity that is elusive because there is often nothing there to compare it against. Where as the cliché of most songs is to bring attention to the “rocking” part, here it is the serenity of the music that really entrances you.

Anyone who reads what I write knows that though I appreciate just about all kinds of music, shoegaze has always been special to me – and, as a result, I am more critical of shoegazers. I always remember an era in the late 1980s and early 1990s, when nascent shoegazers were releasing amazing EPs that till today are some of the best collections of music I have ever heard. 2011 is much like those years, and The Silent Numbers’ “Calculator” may very well stay the test of time to be one of those EPs. Perhaps there is something in the water in Portland, Oregon USA that makes for such great shoegaze, but one things for sure is that this is a collection you need listen to. Whether you are fans of shoegaze (and post-punk) or are simply curious and are a music lover, this small, but grand, collection will definitely leave an impression.

Track Listing:
1. Calculator Watch
2. Canadia
3. Foundation
4. Ruthless

Keep up with The Silent Numbers at their homepage, MySpace, Facebook, and Twitter. Head over to the band’s Bandcamp page where you can preview and download “Calculator” and the rest of the band’s discography.

Here is the video for “Ruthless: from thesilentnumbers YouTube Channel.

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24 December 2011

Five for December

As I warned earlier this year, here is the second bundled review for 2011. And though it has been a hectic year, we did not want to start closing out the year without mentioning the following five albums – so Mirage and I put together these brief reviews. Brief, because even though at this point we think many people may have heard them and been overwhelmed with some hype, we still felt the need to put our two cents into it. Albeit, the brevity or the fact that the reviews are posted together does not mean we do not feel the same way about these albums as we do about any we wrote about this year. These facts have more to do with our own time constraints, as opposed to the quality of the music found hear in. And as this singles the first of the last few posts before we whine down this year and think/argue about our Best of 2011, there is no doubt that these albums, tracks, covers, and videos are amongst some of the best of the year. So, in the word of Björk, who inspired me many years ago with this one word, “Enjoy!”

Björk: “Biophilia” (11 October 2011 in the USA)

Björk Guõmundsdóttir (she does have a last name!) has been part of the soundtrack of my life for many, many, many years – from the psychedelic twist on the post-punk of The Sugarcubes to her electronic, heavily IBM influenced, solo career, Björk continues to push the envelope as very few musicians are willing to and capable of. With her eighth solo album (“Debut” was really not her first solo album), “Biophilia” demonstrates both her socio-political and musical growths. Biophilia, as a concept, is all about how human beings are intricately linked to all the living systems of the world, and it is almost ironic that such an electronically heavy album has such an organic name. But Björk does not just pay lip-serve to eco-consciousness, she is now singing about biophilia. Furthermore, “Biophilia” is being hyped as the first “app album” (technically, it is not). Also a lot has been made about that it was partially recorded on an iPad. This does not surprise me; it was only a matter of time. When we consider the advancement in the last two decades in terms of recording in the studio going digital and high quality home recording becoming accessible, that it was done on an iPad is not surprising. But being the first “app album,” it comes with ten separate applications for the iPad, controlled by one master app, with each of the smaller apps being related to a specific song. And this is Björk pushing the envelopes of how we consume and experience music.

It is not that Björk is trying to be more inaccessible, but rather she is trying to redefine the confines of exactly what is accessible in terms of music in a modern world. The music is a bit more “minimalist” than I usually expect from Björk, but as her voice interplays with the music/noise, just as humans with the world around them (back to that biophilia motif!), it becomes obvious that things may sound simple, but actually are sophisticated and intricate, just like the world around us. “Crystalline” is my favorite track on the album; her voice has never sounded more beautiful! The near symphonic “Hollow” is perhaps the most harrowing song of her career. And though there is really no IDM here, when you listen to tracks like “Virus,” you wonder when the remix collection is going to be release – as the apps will evolve. And I know I am being scarce here in terms of actual “review” and that is because I am hoping that those who have not heard the album yet and/or have not experienced the “app” side of this album will do so blindly, without influence, and enter the amazing world of Björk.

Track Listing: Moon / Thunderbolt / Crystalline / Cosmogony / Dark Matter / Hollow / Virus / Sacrifice / Mutual Core / Solstice

Keep up with Björk at her homepage, MySpace, Facebook, and Twitter.

Here are the videos for “Crystalline” and “Moon,” as well as a live version of “Thunderbolt,” from the bjorkdotcom YouTube Channel.

The Subs: “Decontrol” (12 April 2011 in the USA)

So, I was blasting the Belgian electronic outfit The Subs’ “Decontrol” the other day, while getting dressed, as a friend of mine was waiting for me to get ready to go out. She said, and I quote, “I can’t believe you are listening to this shit.” Her reaction to my listening to The Subs is just the stereotypical response I get from a lot of people when I am not listening to something pensive, dark, or “rocking” – though they get a real kick out of early synthpop! Reality, no one lives in a world where all the music seems to flow in one direction. To me, an album like “Decontrol” is a break, an escape (perhaps to a dance floor), where you can whirl around in your imagination without thought to anything or anyone (other than perhaps the person cruising you or who you are cruising on that dance floor).

Though “Decontrol” does not meet my criterion for deep house, The Subs have essentially produced a feel-good, dance ready album, which is universal enough to appeal the large range of musical tastes from electropop to deep electro house. With songs like the 90s harkening “The Face of the Planet” and the 80s-esque “Hannibal and the Battle of Zama,” the music is party ready, dance ready, and fun mood inducing; yet there are moments that give your pause, even briefly. Tracks like “Hairdo,” constantly playing with the consistency of the beat and melody, the most consistent element being the ostinato, display the chops that The Subs have as song writers – this is not simply throwaway, bumble gum music. And with tracks like “Dry Lemon,” it is obvious that the band has their eyes on real dance music, not radio frivolity.

Track Listing: The Face of the Planet / Don’t Stop / The Hype / Dry Lemon / Hannibal and the Battle of Zama / Itch / Hairdo / Lemonade / The Visible Man / Decontrol

Keep up with The Subs at their homepage, MySpace, and Facebook.

Here are the videos for “The Face of the Planet” and “Don’t Stop” from the lektroluvrecords YouTube Channel.

Bombay Bicycle Club: “A Different Kind of Fix” (29 August 2011 in the UK and the USA)

Getting a contract and/or managing to release your debut album by hook or by crook is an accomplishment these days; surviving your sophomore album and not ending up in a deadly slump is even a bigger accomplishment; but the biggest accomplishment is releasing a third album that people are interested in. The shelf life of bands is not that long, the shelf life of a band continuing to be interesting and relevant is even shorter, but, with “A Different Kind of Fix,” Bombay Bicycle Club is proving that though they may not be the center of the hype-machine, their music is as urgent and perhaps even more relevant than those bands swept in hype.

“Shuffle” was the appropriate lead single. Fun, intelligent, and beguilingly alluring, you may hate yourself for listening to Bombay Bicycle Club but you will be sucked in. Though they have their share of slower, more ponderous tacks on the album (such as “Still,” which eerily reminds me of Thom Yorke’s [of Radiohead fame] singing style), the album is definitely at its best when being mysteriously upbeat. Just take the track “Lights Out, Worlds Gone” as the model; you are sucked into the ambient keys in the background, the jangly guitar arrangement, and the sophisticated vocals. But you should have been aware that this was going to be a great album right from the opening track, “How Can You Swallow So Much Sleep.” This is just one of those songs that is hard to define what makes it good … it is just so damn catchy. And that’s the rub: the album is catchy, infectious even. And anyone can start making faux comparisons and slag off this band, the very fact that people cannot stop talking about Bombay Bicycle Club (even though they are not the center of any hype-machine) says something about “A Different Kind of Fix”: this is not an album easily ignored.

Track Listing: How Can You Swallow So Much Sleep / Bad Timing / Your Eyes / Lights Out, Words Gone / Take The Right One / Shuffle / Beggars / Leave It / Fracture / What You Want / Favourite Day / Still / Beg – bonus track

Keep up with Bombay Bicycle Club at their homepage, MySpace, Facebook, and Twitter.

Here are the videos for “Shuffle, “Lights Out,” “Still,” and “Leave It” from the BombayBicycleVEVO YouTube Channel.

The Wombats: “This Modern Glitch” (22 April 2011 in the UK; 26 April 2011 in the USA)

My introduction to The Wombats was when I saw them live at the Stone Pony (Asbury Park, NJ USA), opening up for The Kooks; in a nutshell, I felt that they stole the show. Whereas The Kooks are more melodic in a 60s rock sort of way, with the ability of making an audience as pensive as they are on stage, The Wombats will make you jump up, down, left, right, and diagonal. They know how to please the crowd. I was excited when I heard about their sophomore album, “This Modern Glitch.” Their first album made sure that I was out of my seat and dancing to Joy Division, but this album made me a fan.

They have taken a different route from their debut album, especially in terms of their use of keyboard! “Tokyo (Vampires & Wolves)” is The Wombats that I am accustomed to. A beat that will keep your body pulsating and then when the chorus hits, you’re belching out every word to it. One song that threw a curveball at me was “Anti-D.” It is hands down one of the most beautifully composed songs they have written to date. The song makes sense in a way if you are telling a person that I will be there to pick you up, but it is a very odd song by them. It is definitely Cureish. (On a side note, doesn’t Matthew Murphy have a similar hair due as Robert Smith?) Now as I said before, they have introduced keyboards, but you’re thinking, big deal. Another curveball would be “Techno Fan,” which is sort of saying, “Hey, not only can we play a guitar, slap a bass, and bang on some drums and make a killer song, we can use a keyboard and make a song that will keep you dancing all night!” (On another side note, didn’t The Cure start relying on keyboards and “dancier” beats on their sophomore album too?) After giving this album a listen a few times, “1996” is that song that really stuck to me. There is a beautiful blend of the melodies of the keyboards to the guitar playing.

Track Listing: Our Perfect Disease / Tokyo (Vampires & Wolves) / Jump Into the Fog / Anti-D / Last Night I Dreamt… / Techno Fan / 1996 / Walking Disasters / Girls/Fast Cars / Schumacher the Champagne

Keep up with The Wombats at their homepage, MySpace, Facebook, and Twitter.

Here are the videos “Tokyo (Vampire & Wolves),” “Jump in the Fog,” “Anti-D,” “Techno Fan,” “Out Perfect Disease,” and “1996” from the TheWOMBATS YouTube Channel.

Cut City: “Where’s The Harm in Dreams Disarmed” (6 June 2011)

Viva Sverige! I am constantly arguing my point that some of the best musicians and songwriters out there hail from Sweden – with their access to British, American, and continental scenes, not to mention their own, what they create is panoramically breathtaking music that references a plethora of styles. Cut City is no different than the rest of their brethren, and “Where’s The Harm in Dreams Disarmed” is the evidence of that. Their brand of post-punk may harken back to the likes of Bauhaus and Joy Division, but Cut City has a different sound and feel to others (like Interpol) that travel this musical road. For instance, the second track on the album, “A Modest Recovery,” comes out of left field considering the opener. The song, though essentially post-punk, demonstrates the same kind of pop sensibility and infectiousness of such bands like Editors. (And for the record, they do not sound like Editors.) Of course, like in tracks such as “The Kids of Masochism High,” the band is able to really stay true to the original post-punk structure of music, and yet making it relevant to an audience today.

The album closes with an eleven minute epic, “Ghost Pose – 1) Lover, 2) Drifter, 3) Floater.” Of course, this is my favorite track on the album, though it defies everything about post-punk epics. Lyrically, all of the post-punk dejection and despondency is there: “So realize we’re bleeding dry all of my dreams, and don’t you know there’s something here we could not fix.” But like the post-punk that bands such as The Cure or Echo and the Bunnymen have been known to produce, this song is musically uplifting! At least it is so for the first half of the song; the long repetitions are not weighty, and the consistent wallowing in a singular musical trope is non-existent. And even the discordance of the second half of the song is more like shoegazers making noise, like My Bloody Valentine, than droning.

Track Listing: Void / A Modest Recovery / The Sound & The Sore / Cults Revisited / Future Tears Today / War Drum / The Kids of Masochism High / Left of Denial / Ghost Pose – 1) Lover, 2) Drifter, 3) Floater

Keep up with Cut City at their homepage, MySpace, and Facebook. Check out their Bandcamp page where you can preview and download “Where’s The Harm in Dreams Disarmed” and the rest of their discography.

Here is the song “A Modest Recovery” from their Bandcamp page.

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17 December 2011

Golden Gardens and The Living Arches

I could not let the year close out without writing about the last two releases by Golden Gardens. The first is a split four-track EP with songs by both Golden Gardens and The Living Arches. When I heard that they collaborated on an EP, I immediately remembered the phrase “the scene that celebrates itself.” Though the phrase was originally intended to be insulting, the reality is that it described one of the most fascinating aspects of shoegaze. The original shoegazers all had connections to one another, celebrating each other’s music. And that is what Golden Gardens and The Living Arches are doing now … collaborating on a project, celebrating their music. The second is an EP of covers. Any collection of covers is a tricky thing that usually fizzles down to clichés and silly attempts at covering a “hit” song. But Golden Gardens stayed true to form, assimilating these songs right into their repertoire with ease.

“The Living Arches/Golden Gardens Split” (24 September 2011)

I know little about The Living Arches (though I plan to educate myself thoroughly during the holidays), who offer up the first two tracks of the EP. Touted as “electrified-acoustica,” I could not have been happier with my introduction to this duo of Michael Hooker and Jensen Kistler, who hail from Tampa, Florida USA. Minimalist in approach (essentially guitar and vocals with some musical accents), these tracks are not bare in the visceral sense at all. From the allure of the guitar playing to the lusciousness of the vocal arrangements, these two tracks are enrapturing. “Our time is limited,” are the first words of “500 Years,” the first track of the collection. Folk meets dirge, with an incredible pop sensibility, this is one of those heart-tugging tracks you will hit repeat on various times. The bluesy “The Serpent and the Bird” has one of the most interesting vocal harmonies. It just has this ability to make you listen to every word, as their singing accents exactly what they want you focus in on.

(The Living Arches’ “500 Years” from Golden Gardens’ Bandcamp.)

The last half consists of the two Golden Gardens’ tracks, “In the Rosebuds” and “An Apparition.” If ever Golden Gardens mixed the same amount of dream pop and shoegaze into one track, it is “In the Rosebuds” – wispy and distorted, layered and ethereal, what I really like about this track is how classic dream pop/shoegaze it sounds. The final track on the EP is “An Apparition.” Just like Cocteau Twins and The Cranes, these vocals are more than just conduits for lyrical expression; they are intricately woven into the musical arrangements, like another layer of music. Though ethereal, Golden Garden manages to “darken” the mood with this track, bringing them closer to their post-punk influences.

Track Listing
1. 500 Years – The Living Arches
2. The Serpent and the Bird – The Living Arches
3. In the Rosebuds – Golden Gardens
4. An Apparition – Golden Gardens

“The Covers” (9 December 2011)

As I said above, covering a song is a tricky thing. When I think about collections of cover songs, I immediately think of two collections that have become the measuring rod for all cover collections in my book. The first is Siouxsie and the Banshees’ “Through the Looking Glass” (1987). With some completely unexpected songs (for example, “Strange Fruit” and “Trust in Me”), what makes this an incredible collection is how the band was able to at once expand their sonic repertoire and eerily “own” the songs. The second is Annie Lennox’s “Medusa” (1995). Lennox proved that one of the reasons to cover music is to save a song from obscurity (for example, “No More I Love You’s”). (I have always imagined that the meaning behind the album has to do with the fact that mythological Medusa transmutes people into other (stone) versions of themselves, just has she has transmuted those songs.)

The first cover of this collection is of The Creepshow’s “The Garden” – gone are the tinges of rockabilly, as well as the upbeat tempo and all that goes with it. Golden Gardens transmute this song into a minimalist dream pop faire that is elegantly haunting. The second cover is of Morrissey’s “The Loop” (one of the last songs by Morrissey I thought anyone would cover!). The opening of the cover is reminiscent of the opening of The Smith’s “How Soon Is Now,” but then the intact lead guitar arrangement is juxtaposed to an ambient key background and vocals that could not be more disparate from Morrissey’s. It is this juxtaposition that really brings out a new dimension to the song that could not have been imagined from the original. And if “The Loop” was a curve ball, then the third cover of Red House of Painters’ “Summer Dress” is surreal! Never in a million years would I have thought of Golden Gardens covering this track, which they really interpreted á la post-punk – down to the early Simon Gallup-esque bass sound.

Golden Gardens then ambitiously goes for Tears For Fear’s “Pale Shelter” on the fourth track. I have always thought that Tears For Fears should have explored their new wave and post-punk influences, which they forsook after their debut album. Golden Gardens concentrates on the mournful, ambient aspects of this song that Tears For Fears did not. The fifth track is a cover of Hole’s “Violet.” Like the first track, their interpretation forgoes the upbeat tempo (and angst). Golden Garden’s interpretation is much more pensive and reflective, loaning itself to deeper introspection than the original. The final cover is of Julee Cruise’s “Into the Night,” a song that I have not thought about in more years than I care to admit. This is homage to dream pop! In many ways true to the original version, but more ethereal, the vocal arrangements are sung in tandem with the musical arrangements, as opposed to above them as in the original.

Do Golden Gardens pick at least one unexpected song? Check. Do they own these covers? Check. Do they save at least one song from obscurity? Check. “The Covers” is an excellent cover album, which meets with all of my personal expectations for cover collections. I for one am really happy that the band did not tread down the road of clichés; not that I have anything against anyone covering Cocteau Twins, but that would have been too easy! They engaged music that was not in their realm of references, continued to keep dream pop and shoegaze alive, while simultaneously paying homage to the past and pushing the classic form a bit further – and these two releases are just further reasons to delve into the world of Golden Gardens.

(Golden Gardens’ cover of Red House Painters’ “Summer Dress” from the Golden Gardens Bandcamp page.)

Track Listing:
1. The Garden
2. The Loop
3. Summer Dress
4. Pale Shelter
5. Violet
6. Into the Night

Keep up with The Living Arches at their Tumblr and Facebook. Head over to their Bandcamp page where you can keep track of future releases.

Keep up with Golden Garden at their homepage, Facebook, and Twitter. Head over to their Bandcamp page where you can check out both of these EPs and the rest of their discography.
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15 December 2011

Last Batch of Videos for the Year

I am looking forward to the holidays, partially because I will finally be able to finish off this year – a few posts must go up (which have been written), and then we will argue amongst ourselves about our yearly rankings of albums, tracks, videos, and album cover art. But I wanted to put a few more videos before the close of the year.

Though I typically place the videos in alphabetical order according to the title (not band), I made an exception this time, placing Duran Duran’s “Girl Panic” first. Duran Duran, like artists such as David Bowie, The Cure, Depeche Mode, Annie Lennox, Madonna, and Nine Inch Nails, are not just simply musicians or entertainers, but musical institutions in their own right. They have left a legacy blazing behind them, but do not sit on their laurels trying to relive their glory days; instead, they continue to compose music, tour, film videos, and push the envelope in their own way. (Unfortunately, all of these artists are victims of a media world that favors young, cookie-cutter, easily marketable entertainers, and rarely give veterans the credit they deserve.) When I think of Duran Duran’s take on synthpop, tinged with smatterings of post-punk, new wave, classic pop, and a plethora of other styles throughout the years, it is impossible to deny that they were one of the bands that really were in the forefront of music videos, cementing the idea that the image of a band can at once transcend and be interwoven into the musical experience. The sleekness and sexually laden music was mirrored by the videos and the band’s look.

Some times enigmatic (can anyone please explain the chorus of “The Reflex” to me – “The reflex is an only child, who’s waiting by the park; the reflex is in charge of finding treasure in the dark and watching over lucky clover, isn’t that bizarre?”), sometimes downright confusing (Morrissey once said their videos could have been directed by a “drunken goat”), but one thing that always come to mind is their sense of fashion (that image thing again) and how they have always chosen to present themselves as bigger than life in their videos. That is what really got me about “Girl Panic” – it is essentially the biggest twist in their videography. That larger than life image is deconstructed and then re-imagined in the most bombastic way, while paying homage to their career, fashion, and other icons, who understand a thing or two about fashion. In a nutshell, this is a video that only Duran Duran could have made.

Enjoy the videos!

Duran Duran’s “Girl Panic” from the DuranDuarnVEVO YouTube Channel.

Paul Weller’s “Around The Lake” from the paulwellertv YouTube Channel.

Theme Park’s “Ghosts” from the thmprk YouTube Channel.

Frànçois & The Atlas Mountains’ “Les Plus Beaux” from the DominoRecords YouTube Channel.

Bombay Bicycle Club’s “Shuffle” from the BombayBicycleClubVEVO Channel.

Viva Stereo’s “We Set Sail” from the vivastereo YouTube Channel.

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