Conceptually, Col3trane's new joint video is a hallucinogenic trip linking his latest singles "Fear & Loathing" and "Britney" together. The video begins with Col3trane entering a car with the Man With Flowers walking away; the scene then cuts away to a desert and the two come across each other in an endless psychedelic loop. Director Oscar Hudson describes the video as "a BIG stop motion contrazoom in the Kazakh desert ... [with] 30 people who let us bury them in the sand." So from what I can tell, filming this would have been a huge headache to set up, and after watching it half-a-dozen times, the visuals are still as mesmerizing as they are meticulous. Col3trane's next project entitled, BOOT (Breathing Out Of Time), comes out soon. Stay tuned.
A few weeks ago, Mura Masa released a nice likkle dance tune for the remainder of the summer featuring my new favourite artist Octavian.
Directed by Dexter Navy, ASAP Rocky's latest music video is a cinematic work of art featuring an expert usage of match cuts throughout. "Praise The Lord" shows the parallels between New York City and London as Rocky and Skepta take turns counting their blessings. Fittingly, Navy uses the match cut technique to compare and contrast the similarities between the two cities.
"Raise your head high, the World Cup is upon us / Camden-based artist Bakar knows just what we wanted / Do you call it soccer? Do you call it football? / All I know is that Germany's out and it's just get started / Belgium, Belgium, Belgium / Look out for the British / France is pretty young but they're not playing Quidditch / Russia's kinda far away / Perhaps even a Million / Maybe hit the Siii-ling / Ronaldo's probably reeling / This tune is a killer / BK is a villain!"
^^*Sing to the tune of "Million Miles" by Bakar*^^
More of a dance track than anything else, "Hands" is a song by London-based rapper Octavian that quite obviously has him singing and not rapping. Compared to his last two releases ("100 Degrees" and "Party Here"), it's a complete change in what you might've expected from the up-and-comer but not in his sound aesthetic. The emotion-evoking distortions are reminiscent of James Blake—or perhaps, more accurately, Mount Kimbie—combining gospel, soul, and electronic elements bubbling into a shuffling, bass-heavy, and dynamic production.