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shemakesmusic-uk · 2 years

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K-pop soloist Chung Ha has released a poignant music video for her new single ‘Killing Me’. The visual follows Chung Ha as she tries to move on from a bad breakup. It opens with her seeming looking forward to a new day, before she is swept into a world of heartbreak as she is reminded of a former lover. The singer attempts to party her pain away with friends But by the end of the video, Chung Ha ends up sitting sullenly on a couch as her heartbreak takes over once again, while the party continues to rage on around her. “It’s killing me, killing me / Every day is a long tunnel / Again, I’m exhausted by the endless darkness,” she sings on the EDM-inspired pop song. [via NME]

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FKA Twigs has unveiled a new video for recent single ‘Measure Of A Man’ featuring Central Cee . First released earlier this month, the clip for ‘Measure Of A Man’ features exclusive footage from the upcoming film, The King’s Man. The Diana Kunst-directed video sees FKA Twigs wield a sword against a demon-like figure while Central Cee raps against a red backdrop as FKA Twigs dances behind him. The track, which takes on a theatrical tone, posed a challenge for Twigs, who said in a prior statement: “This song has such a different sound, which is a challenge; you’ve got to really embody the song. For me especially with my vocals, I had to pull a different side of my artistry out.” West London rapper Central Cee added: “What I listen to when it comes to trying to find beats is something theatrical, it needs to sound like a movie. And that’s exactly what’s going on with this song, it sounds like it’s made for a movie regardless.” [via NME]

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Witch Fever have a video out for track ‘Bully Boy'. The concept for the video was The Witch Trials but for drag queens and CBeebies. Violent, but in a cartoonish, over the top, completely unrealistic way, with watermelons and balloons being stabbed. It ends with the band being burnt at the stake with paper flames. Taken from their debut EP Reincarnate which came out digitally last month, ’Bully Boy' is a steel toe-capped boot to abuse of male power, which considers the concept of God within a patriarchal system.

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Peckham, London based band Black Bordello release new single 'Drones' and announce their new EP White Bardo, out March 2022 via Hideous Mink Records (Opus Kink, Fake Turins, Body Horror). With inspirations ranging from PJ Harvey and Björk to Aphex Twin and David Bowie, Black Bordello's carnivalesque blend of art-rock, punk, jazz and Turkish psychedelia is a wholly unique aural experience. Written during lockdown 2020, (somewhat illegally) in a basement underneath a closed pub, 'Drones' opens with a theatrical descending bass line, before erupting into a roar of magisterial brass, fizzing synth runs, and frenzied percussion. Discussing the initial inspiration behind the track, vocalist Sienna Bordello said: "The idea for 'Drones' came about after I watched a documentary about a Drone pilot. He was a gamer who had been headhunted by the US military and recruited into the military workforce. He was given a gaming station with Xbox-like controllers and vintage screens which showed simplistic colours, much like the platform arcade games of the 80s and 90s. He was given missions like ‘cut the grass’, ‘trim the weeds’, ‘tidy this area’. After his service was done, he suffered PTSD when the realisation that he’d been controlling the distribution and attack of drone missiles on civilians sank in. I thought of this as an interesting subject matter for the song, namely because we were in a global pandemic and all life as we knew it had been halted, yet at the same time the UK and US (amongst others) governments had put more money into military than ever before, and had recruited more troops to attack parts of the middle east throughout our so-called ‘international emergency’. I was gobsmacked that they were passing needless military operations whilst the world was distracted by the pandemic. Every person in this situation is a puppet, but who is pulling the strings?"

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KRISTEENYOUNG shares a brand new single entitled 'Life Kills.' 'Life Kills' is the first song and single from the upcoming KRISTEENYOUNG album, The Beauty Shop (due March 2022 via The Record Label). The Beauty Shop is a song cycle based on the life of a serial killer, with each song taking on one major emotion. But, really, it’s about how life can kill our emotions and asserts that everyone is part victim/part perpetrator. 'Life Kills' is based on the emotion of rage. Young wrote, arranged, produced, co-mixed and played almost every instrument on the album, as well as designed and made the album art and visuals (including clothing). And 'Life Kills' is no exception. Young wrote, arranged, produced and co-mixed (co-mixer was Tony Visconti) 'Life Kills.' She played every instrument except guitar which was played by renowned avant-guitarist, Don DeVore (Collapsing Scenery). The bass was played by legendary producer/bassist, Tony Visconti. The song eschews genre but features her signature dissonant piano bashing, operatic vocals, tribal beats, and incisive lyrics. Young shot and edited the video herself, and designed/made all props and wardrobe. Most of the video was shot at location, Renditions (beauty salon) on Highway 66 in St. Louis, Missouri in October 2021. Some footage was also shot at Magic Touch Auto Spa in Lodi, New Jersey.

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Constellation is pleased to announce a new artist, Kee Avil, and debuts the stirring video for Kee Avil's new single, 'See, my shadow.' Led by Montréal producer Vicky Mettler, Kee Avil combines guitar, voice, electroacoustics and electronic production to create song assemblages that teeter on the edge of collapse while oozing forward, like sticky resin picking up and shedding disparate elements along the way. Kee Avil evolved from playing guitar with broken cymbals and drumsticks to forging askew tempos and templates glued together by samples of screws dropped into crystal bowls. "A shadow’s moment, distorted. Warped piano samples, chipped ceramic cups, swirling metal, feedback assembled. I used to think this was a love song. Constructed from a demo, never finished, originally recorded for the Kee Avil EP. 'See, my shadow' is one of my most produced songs – a large part of the work was to strip it down and find the right balance between chaos and density vs stability and drive. It will be the first song on a new album. Writing this I find myself trying to find a reason why I would "stand here blind, deaf and mute" – ultimately the words are there for their rhythm, imagery and texture. The text for the ending was written in one moment, intense but fleeting, later adapted. The meaning of the song changes all the time – fittingly, it’s as though this moment has been passed on to my shadow. To reveal what I’ve hid, what is recognised, ignored, what is real. Blank, misdrawn, rebuilt, the creature as the i. With masks, I break and reconstruct these ideas, mix the familiar with the abstract."

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Brussels-born, world-raised, Berlin-based, singer, songwriter and artistic director K.ZIA shares the breathtaking new music video for her latest single ‘I Got Your Back’. The track follows the release of previous singles ‘Sanctuary’ and ‘JFMB’, and is taken from her upcoming debut album Genesis, set for release on February 11, 2022. On her brand new conceptual album, K.ZIA brings forward her rich Universe and introduces two sides to her persona: K.ZIA who emulates light, warmth, passion and emotion and sings in English, and ZIA, her darker, bolder, intoxicating alter-ego who sings in French. Effortlessly blending elements of alternative R&B, soul, Pop, trap and afrobeats with K.ZIA’s captivating vocals, ‘I Got Your Back’ showcases K.ZIA’s effortless and natural gift for storytelling. Drawing from her combined influences, K.ZIA thrives on being able to experiment with the emotions and feelings she’s able to convey through her music. Speaking of the track, she says: “'I Got Your Back' is a song close to my heart. Dedicated to one of my closest and longest friends, It’s a song of comfort for the ones among us who suffer from depression. Life can feel so lonely at times, depression is a subject we don’t often talk about but touches so many. It’s ok to need some time off, it’s okay to feel a certain type of way. The last 2 years have been heavy on a lot of us and this song is a warm hug from a distance to make sure you know that whatever happens, I got you.”

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Minneapolis artist and musician Frances Priya Anczarski released her new album as FPA, Princess Wiko, in November via 37d03d. Described by FPA as "the story of a young woman of noble birth forced to betray her heart, and marry a man she hardly knows, all the while going down the slow path of self discovery," it's a gorgeous album, full of lush soul and accented with electronic touches. There's also a new video for album track 'Last to Bloom,' a moody, candle-lit visual directed by Brendan Lauer and Ariana Bailey. "'Last to Bloom' is the final chapter of our story," FPA says. "It's about self-actualisation during what seems to be the end of the world. The rebirth of Princess Wiko has come, but nobody is left to witness, and nothing surrounds her but death and ash. ‘The leaves are all but wilted all but gone.’” [via Brooklyn Vegan]

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Boston based singer-songwriter MAYA LUCIA shares her latest indie-pop single ‘ur ruining it !’. The single is accompanied by a bright and bold music video. Garage-Pop singer-songwriter MAYA LUCIA is the queen of hearts. Having spent the last five years bouncing between the Pacific and the Atlantic, the Minneapolis native pulls DIY sounds from both sides of the coast. Her distinctive vocal styling and angst-ridden lyrics effortlessly float between punk, pop, and surf-rock. Her next EP is due Spring 2022. Speaking of the music video, MAYA says, “Jack (Campise) and I have worked together previously on my music video for ‘sadgirl (rip moviepass)’. We met our freshman year of college before I transferred schools and have been friends ever since. Together, we created the idea of a reunion of sorts after the pandemic. We drew from the film Boogie Nights and their use of tracking one-takes to create the flow in the music video. A lot of our close friends were part of the music video and doubled as cast and crew mates, which made it very special.”

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Los Angeles-via-Georgia singer/songwriter Katelyn Tarver recently released her stunningly beautiful new album Subject To Change on November 12. Now, she shares the all-too-relatable video for ‘Year From Now,’ a folk-infused meditation on the healing power of time.

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On the music video for 'Maybe It’s Me,' mesmerising Brisbane act Pipin dons clown makeup. Aside from being visually intriguing, it’s also an insight into the multifaceted nature of the song, and the artist herself. On 'Maybe It’s Me,' we receive ecstasy and surrender. A radio-friendly kit shimmers along with a cute synth that teeters between major and minor chords, adding depth to an otherwise innocent pop structure. “Socks pulled off your toes, freckles on your nose, talking about someone I don’t know”, Pipin sings gorgeously, painting a vivid image of tension bubbling underneath a bright blue sky. Next comes the head-swaying hook, which gets stuck in your ears after just one listen. It’s a testament to Pipin’s captivating, idiosyncratic songwriting. “Maybe it’s me, I could be happy, I could be everything that I am not”, Pipin manifests, over the bubbly production work of real-life partner, Hugh Middleton. No wonder the sound and melody are so in-sync. You can sing along gleefully, celebrating a new chapter, or sing along ironically, remembering the weight of consequence that inspires such an epiphany. Both are feasible. The music video also contributes to this wondrous exploration, as Pipin performs in front of flashing, brightly coloured backdrops, both immersing and disorientating the listener. [via Happy Mag]

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Parisian riser November Ultra has shared her new single 'le manège'. Out now, the single completes a memorable 12 months for the bedroom pop newcomer, whose DIY tactics have brought huge online success. 'le manège' pivots once more, with November Ultra discussing "endless love" while absorbing new sonic aspects. Melding together vintage R&B, Millennial pop, and the Spanish musicals she heard from her grandfather, 'le manège' seems to shift and evolve across several different planes. She comments... “This song is about endless love, about loving someone so much that you love them wrong, about being constantly close to short circuit. The beginning of the song pays tribute to Maurice Sendak's children's tale Max and the Maximons and this sentence pronounced by one of the monsters: "I'll eat you up I love you so'. This is what we wanted to show in this video, this carousel, a universe stuck between the real and the unreal. The beginning of the song is soft, light, a dream-like waltz. The little outdated but beautiful idea that we have of love and relationships when we grow up watching musicals. Then, the more the clip progresses, the more what we found beautiful becomes strange, as if it was going off the rails. The same scene repeats itself in a loop, the carousel gets stuck, like a movie you've seen so much that the film gets scratched, the dialogues scratch and everything that seemed beautiful, sweet and cute gets distorted, glitchy, and offers a new reading. Going from the mountain to the little volcano.” [via Clash]

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Basel/London-based pop singer Emilia Anastazja just released her colourful new EP Flower House, bringing some warmth to the cold autumn days. With influences ranging from 070 Shake and Jessie Ware to Mary J. Blige and Whitney Houston, those sonic touch-points can be distinctly heard within Emilia's creations. New single and EP title track 'Flower House' was written in the aftermath of her previous home being torn down to be replaced by a new block of "overpriced apartments". A colourful amalgam of 90's inflected R&B and effervescent electro-pop, Emilia opens proceedings with a quiet admission of acceptance: "I‘m in the mood for taking what‘s good in my life / The more you pull down, the more I look up to the sky" before the track opens up into its soaring chorus. Speaking on the release of new single 'Flower House', Emilia said "The lyrics are talking about my reflections and memories of an apartment block that I used to live in with my best friends which was demolished in front of my eyes. It was a whole community of artists living there and we always had an open door for everyone and the rent was almost for free. The house was demolished because the state decided to build some more overpriced modern apartments there. This home holds a special place in my memory and is often a place I look back to as the last real place I could call home. I wanted to express both my anger and my fantasy to “Burn” down what now stands in its place."

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Moonchild Sanelly has unveiled the music video for her latest single 'Covivi'. Released at a time when it could not be more relevant, the message of the single and music video is a plea for the pandemic to end so that people can enjoy the outdoors, especially leading up to the festive season. The video speaks to a huge party culture in SA where celebrations are shared with friends and memories created through music and dance. With SA facing a new wave and variant of the pandemic, the video will bring positive energy during this lockdown phase. “I am super excited about 'Covivi' visuals dropping because it is literally us having a conversation with the one person/thing that has been blocking us from grooving because we want to save our lives but our bodies want to dance. So I am having a serious conversation asking Covivi to open the doors because we want to dance”, says Moonchild. [via Times Live]

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Doja Cat embarks on another spaced-out adventure in the new music video for 'Woman,' a track off her latest album, Planet Her. The clip was directed by Child, and it finds an intergalactic queen being warned of an imminent threat to her throne before conjuring the most powerful weapon she has at her disposal: Doja Cat. Admittedly, the narrative plot gets kind of lost from there, but that doesn’t mean the rest of the clip isn’t lacking in eye-popping visuals, futuristic costumes, and expertly choreographed dance sequences. [via Rolling Stone]

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The dynamic duo of Charlotte Adigéry and Bolis Pupul have shared yet another bop of a track off their upcoming Soulwax co-produced album Topical Dancer, entitled 'HAHA'. Previous singles 'Thank You' and 'Blenda' further established their knack for subverting the platitudinous into quick-witted critical commentary. It also helps that Adigéry and Pupul possess the productional smarts to make any living soul prance around like a complete fool. 'HAHA' doubles down even more on Adigéry’s signature lyrical minimalism: in fact, there’s but one hook, and a great one at that: “Guess you had to be there”. The song samples Adigéry’s burst of laughter, expertly and infectiously laced in between the song’s slinky electronic beat, in a way putting a modern spin on eighties luminaries such as Yello and Jean-Michel Jarre. Obviously, this is a song of suggestion rather than one of confession, though some hints of its backstory might be found in the offbeat musical video. The commentary the two artists have given remains just as cryptic: “a visual shorthand for unhatched potential”. We’ll leave it for you to unwrap whether this is allegorical or a creative exploration of an inside joke. Undoubtedly, it’s fun as heck. [via Beats Per Minute]

#videos of the week #chung ha #fka twigs #witch fever #black bordello #kristeenyoung #kee avil #k.zia #fpa #maya lucia #katelyn tarver #pipin #november ultra #emilia anastazja #moonchild sanelly #charlotte adigery

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in-command-of-the-unsc · 4 years

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Day 6: Fleet, Union, Fire At Will, Crossover

Ok, quick note. This is going to be massive AU, and fan-service out the waazoo. Right, that’s all.

Also, @ladywolvesbayne , you wanted some John and Steve being badass? 😉

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Well this is certainly a predicament.

Steve let the thought crossed his mind as he chucked his shield into the chest of an Elite to send it stumbling backwards, following it up with kicking its leg the wrong way so hard it snapped. The shield predictably flew back to his hand and he caught it, uppercut the Elite in the mandibles, and was rewarded with the audible crunching of bone.

When the head exploded in a splash of purple blood, he simple shoved the body aside and continued on. The Chief had arrived.

Steve sprinted forward, a cluster of Marines behind him. His mind drifted to how they’d ended up here.

Well... not even Tony was sure what happened, but they had guessed they had somehow done something wrong with the Infinity Gauntlet and sent themselves here. To another universe, with a humanity that had been fighting for its very existence.

Steve... well.... let’s just say Nat had to comfort him when he realized the extent of the war and that he couldn’t have helped at all.

A line of purple plasma blasts skittering across the ground in front brought him crashing back to reality. Seems like a— what had the Chief called them? Shade turrets! Seems like a Shade turret had spotted them, and it was aiming right at a Marine.

Steve jumped in front of the blasts and raised his shield, grunting when the superheated plasma started slamming into his shield. He was definitely able to stop it, but that didn’t mean it didn’t burn like all hell. “Chief!”

“Standby.” Came back over the comm.

And then an Elite corpse came flying through the trees, followed closely by the Chief, who dropped to a knee and skidded forward along the dirt. Steve instantly knew what he was doing.

Taking the initiative, the Captain sprinted forward and leaped onto Chief’s back, and then leaped again when he felt the seven foot tall man rise underneath him, sending him flying into the air.

“Cover the Cap!” Shouted one of the Marines.

Steve chuckled to himself as he landed on the raised earthwork the Shade turret was settled on, performing a combat roll to keep his momentum. He shot to his feet and turned to the left, spartan-kicking a Grunt in the face so hard its skull shattered as the body flew away.

“Rogers, on your six.”

Steve whirled as the Chief’s warning came over the comm, and proceeded to get his shield knocked out of his hand by a Brute.

“I thought you said the Storm Covenant didn’t have any Brutes?” He grunted into the comm as he rolled out of the way of a gravity hammer swing.

“They shouldn’t. Something’s wrong.”

Steve let that thought simmer as he slammed several open-palm strikes into the Brute’s chest before jumping into the air and kicking backwards off its chest, pulling a mid-air backflip and landed at a kneel. His eyes darted over the Plasma Pistol the Grunt had dropped and immediately a plan formed in his mind.

The Captain sprinted forward as the Brute lifted his hammer, and then slid between the beast’s legs as the hammer crashed down on the dirt behind him followed by a Brute snarl. Now behind it, the Captain rose to his feet and sprinted for the pistol, rolling over the ground as he grabbed it and immediately beginning to charge it up.

The Brute, for his part, was raging now. He snarled and raised his hammer, running towards Steve, who let the trigger go and sent a fully charged Plasma Pistol blast into the Brute’s knee, making it collapse with a roar and drop the hammer.

Immediately, Steve tossed the pistol and darted for the hammer as the Brute rose to one knee, and with one swing, sent the now-dead beast flying. “Chief, heads up!”

The Spartan caught the hammer sent his way in one smooth motion, and proceeded to use it to liquify the innards of three Elites by activating the gravity manipulation and slamming all three at the same time.

Spotting his shield where it had been knocked away, Steve retrieved it only to hear-

“Hunter! Defilade, defilade!”

“Shit-“

He could hear Tony calling him out for his language even when he had no idea he’d said that. Steve jumped down from the earthwork and looked over at the Hunter bearing down on the Chief. “Hey! You missed one!”

And then threw his shield into the back of the Hunter’s head. Surprisingly fast, the beast turned around and roared, charging at the Captain, only for the Chief to tear it in two with a hammer strike. Before they had a chance to do anything, a cluster of Covenant troops emerged from the trees, and a Phantom emerged from the clouds.

“Chief?” Steve tightened his shield on his arm and raised it.

The Spartan nodded in reply, before slamming the gravity hammer into Steve’s shield. The resulting shockwave took out the Covenant troops. And several dozen trees.

Without waiting, they both sprinted towards the Phantom, only for the Chief to suddenly stop, then grab the arm Steve extended to him, before launching him at the speed of an Archer missile into the sky towards the dropship.

The Covenant Pilot was in the middle of making a turn, so Steve flew straight into the troop bay, slamming into a Brute so hard it fell out of the dropship. Quickly, he threw his shield into the face of a Jackal, of which it bounced off and hit two Grunts in quick succession. As it did this, Steve drop-kicked an Elite out of the Phantom, and kicked a Grunt into a Jackal, easily catching his shield as it returned to him. He picked up a Plasma Grenade off the floor and activated it, tossing it into the cockpit before leaked out of the Phantom as it detonated in a wash of purple flame.

The two fighting styles of the Spartan and the Captain merged quite well. Quite an interesting union.

Landing on the ground, he activated his comm. “Stark, I hope you’re having better luck than us.”

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“-uck than us.”

“You wish, Capsicle. We’re- woah!” Tony jerked to his left as a wash of plasma clipped his leg. “Watch the paint!” He yelled as he blasted the offending Seraph with his Arc Reactor beam. “Little Red, Aunt Peg, how about you?”

—————————

“-ow about you?”

Peggy rolled her eyes. “Captain Lasky is performing effectively, Anthony.”

“Gee, thanks.” Thomas chuckled, then turned back to the bridge. “Weapons Officer, set mark 1-7-6, ready MAC-1, fire when when ready. Ready EP-1, set sweeping trajectory through targets Storm-1 through Storm-3.”

“MAC-1 firing!” The deck rumbled. “MAC round away.”

Peggy was still trying to wrap her head around how she’d even ended up here, but she wasn’t complaining. Apparently Steve had tried to come back to her, and something had gone wrong.

“Lieutenant James, set course 2-7-0. Ahead flank.” He turned back to Weapons. “Weapons, fire EP-1 at assigned target.”

“Firing EP-1!” A bright white line shot out from the front of the Infinity and sheared through not one, not two, but three Covenant frigates.

“Captain!” Lieutenant James called out.

“El-Tee?” Lasky asked the bald man.

“We have an incoming Slipspace signature. Collision alarms are flaring!”

“All hands, brace brace!” Lasky barked into the intercom.

And then a CSO-Class emerged from Slipspace right in front of them.

“Bloody....” Peggy muttered.

“Incoming projectiles!”

“Spin up poi—“

“Too late!”

The ship rumbled and the lights flashed as countless Plasma Torpedoes slammed into the vulnerable super-carrier. “Roland, re-route non-critical power to shields!”

“FRIDAY, help him!” Natasha snapped from her place in the corner.

“On it.” The two replied simultaneously.

A tense silence ensued. The CSO, however dilapidated it was, stopped firing.

....