Video Voyager: Tadgh Billy King’s “sit and wait”

Irish alt-rocker Tadgh Billy King (pronounced like “Tiger” without the “er”) is a multi-faceted an actor, writer, director, a composer for theatre, and an award-winning classical singer. He didn’t set out to re-create the sound of frustrated punk rock in his song “sit and wait,” instead he’s unapologetically adding to the conversation through a modern lens with this new release. The result is a blistering, blunt and rousing ride through noisy hardcore, math-y punk and gazy walls of sound. At times brash, at times sublimely ethereal.

Tadgh’s immersive artistry speaks to its conception during times of deep introspection. His cathartic musicality spans post-punk, goth, noisy hardcore, and math-y punk, and is inspired by such artists as Bauhaus, Drive Like Jehu, Fugazi, Joy Division, Nirvana, Radiohead, and contemporary Irish bands such as Fontaines D.C., The Murder Capital, Gilla Band and Just Mustard.

The video for “sit and wait” depicts Tadgh’s blunt outlook on the world that surrounds with us bright colors and moving images over stagnant objects that reveals the subtle undertones of confusion and frustration that sits with a lot of younger people today.

We got the chance to speak with Tadgh about a more in depth look into his music video. Watch and read below:

Tell us the story of this song, why did you choose to visualize this song specifically in this way?

The song is trying to encapsulate a feeling, which seems to be pretty rampant among late-teen to early-to-mid twenty year olds. It’s a sort’ve existential dread that is hard to articulate. I think it comes from a recognition that there’s a lot of problems in the world today and there doesn’t seem to be a whole lot of clear, viable ways to fix them. So it can feel like people can find themselves sitting and waiting for something catastrophic to happen. While, at the same time, they’re just trying to figure out their own lives. The song is about that frustration. We are left discussing the things that disappoint us, but some of these things are completely out of our control. And then, sometimes, these discussions we have with each other can cause internal rifts within friendships and relationships. 

With this video, I wanted to try and capture these feelings. I felt that by filming people in their late teens and early twenties moving through their own emotions and navigating relationships, while also projecting some weird, beautiful and disturbing imagery that falls within the themes I’m talking about in the song onto them, I could capture and convey this strange feeling we all have for our collective future.

What was the inspiration behind this video (visuals, storyline, etc.)?

I always thought that projection onto a body was really cool. There’s a really interesting theatre/dance company in Australia called Chunky Move and I remember watching a video for this piece they did called Mortal Engine and just being completely enamoured by it. My video is very different to that piece, but it sparked my interest in using projection onto people. I got a hold of a little projector and thought “this is perfect.”

I also really enjoy art that on the surface is really colourful, vibrant, attractive and interesting to watch, but if someone was to look deeper or read into it more they could start discovering multiple layers or narratives to the piece. In this video, try following the couples and seeing what narratives you put onto them from just the emotion you see on screen. What overall narrative or storyline jumps out at you when all the elements (the couples interacting, the emotional expressions from the performers, the lyrics and music, the images being projected) are combined? I know what I was trying to say with the song and video, but that doesn’t matter anymore. What’s really interesting to me is how my intention with the art isn’t important after a certain point. What really matters is what the audience or the viewers pick up and what they project (haha get it) onto the video. 

Late in the process came the idea of adding the first scene of me coming into my room and the last scene of me waking up. This is part of a larger narrative that will unfold across my music, but you’ll just have to follow along to see where it goes.

What was the process of making this video?

When I decided that I wanted a lot of people for the video I just started asking my friends. Everyone you see in the video (all credited in the video description) are artists themselves who are either studying or working (or both) in Dublin and Ireland, creating work that helps to make the city and country more vibrant every day.

For the background video that was projected onto the performers I compiled footage of anything that was interesting to me and fit the vibe of the song. Then I messed around with the colours to make them more vibrant and built the video around the song.

I wrangled as many people as I could together and did a few takes with them in front of the camera and projection, trying out different things that I, or they, thought could be interesting. I directed them through different emotions, asked them to just stare deadpan into the camera, asked them to debate a few different things with each other (nothing incredibly serious), took them to extremes and just kinda had fun with it.  Once everyone else was recorded I filmed myself singing the song. Ultimately, I wanted to let the imagery and people in my video do the talking. Editing it took a little bit of time, just because there was so much footage, but it was a very fruitful experience that allowed me to create something interesting to watch.

The lasting message I want this video to have is that despite life’s challenges, building a positive community and creating art that inspires you is the way forward. The making of this video itself is an example of that. I hope this inspires others to make cool art with the people around them.

Connect with Tadgh Billy King via:
Website // Instagram // Facebook // Twitter // YouTube // TikTok // Spotify


Jelly Kelly Test the Waters on New EP

In recent years, Jelly Kelly has consistently produced music that surpasses their previous work, showcasing their evolution as a band. Led by Keith Kelly, who is also a singer and guitarist in Monogold, Jelly Kelly started as a side project but has grown into a distinct entity. The band consists of Jared Apuzzo on drums, Nicolas Dube on guitar, and Dom Bodo on bass. 

Their music combines melodic riffs and buzzing instrumentation to create a unique and nostalgic sound. Their latest video, “Vitamin D,” carries a specific theme of isolation and the relationship between imagination, confinement, and the outside world. The video, beautifully illustrated and animated by Brendan Sullivan, effectively captures the emotions and the blurred state between reality and self-imposed boundaries. 

Watch “Vitamin D”

This track is part of their new EP, “Warm Water,” out today, June 2.

Listen to “Warm Water”

Jelly Kelly is renowned for their fusion of indie and rock aesthetics, which is evident in their latest artistic endeavor. The mix on their new EP “Warm Water” creates an open and spacious atmosphere, allowing room for the listener’s imagination to roam freely. The layered instrumentation laced throughout adds depth and provides a captivating backdrop to Keith Kelly’s precise and captivating vocal melodies. The band creates a diverse soundscape that emphasizes certain words and explores intriguing melodies. Keith Kelly’s vocals glide through the tracks with precision and intensity. With their alluring tones, the instruments pave the way for a mesmerizing musical experience that will leave you coming back for more. Recognized for their energetic live performances and their contribution to the ever-evolving Brooklyn sound, Jelly Kelly is poised to satisfy your musical cravings. Make sure not to miss their latest album, “Warm Water” available now.

 Alt-rock songwriter Ron Hawkins focuses his lens on late stage capitalism on “Church of the Chemical D.J.”

Respected and revered alt-rock songwriter Ron Hawkins boasts a celebrated catalogue over 20 records deep – some are solo offerings, and others feature backing bands the Do Good Assassins or Rusty Nails.

Church of the Chemical D.J.” is a song about how we sedate ourselves against the hardships and austerities of capitalism in the 21st Century – less an Orwellian hellscape of authoritarian control and more a Huxleyian wasteland of self sedated automatons. Ron was trying to make a cool tune first and foremost, but by the time he was finished, he realised he couldn’t stop himself from getting into the deep shit. 

It’s the focus track from the six song EP, Trash Talkin’ at the Speed of Sound, which was produced by Devon Lougheed (Sky Wallace Band / Altered By Mom).

Ron explains the inspiration for the album: “I feel like as I watch people, I love trying to imagine how they navigate their way through life, with a late stage capitalist nightmare as the motivator. All that in addition to wondering where and how I fit into the equation.”

Vicki Lovelee Debuts New Single “Retaliate”

Vicki Lovelee is a Chinese Canadian alt-pop singer, songwriter and multi-instrumentalist from Markham, Ontario. Her music combines pop with dark, dramatic sounds; fused with orchestral instrumentations.  With an eccentric and raw persona she is a combination of fierce vibrance and honest vulnerability. 

An adamant champion of mental health awareness and the beauty of diversity, her latest single “Retaliate” encapsulates her artistic voice in an invitation to the pop slayers progressive world that she escorts you to with open bejeweled arms.  

The single is a hypnotic alt-pop bop with hooky and dynamic production building to a triumphant crescendo.  An anthemic banger meant to remind the listener it’s okay to have feelings, it’s okay to be affected and stand up again with retaliation for that is the human condition.

Ugly emotions in motion, sudden explosions of feeling blue, then feeling green. Everyone around me telling me how obscene, but I don’t give a fuck”

Crazy Arm Release Epic Single “Floating Bones”

Established in 2005, Devon lefty roots-punks, Crazy Arm, didn’t know what they wanted to be when they grew up they threw everything against the wall to see what stuck. The result is a creative, grizzly and sprawling mess of ‘60s protest song, post/hardcore, Americana,bluegrass, anarcho-punk and heartland rock’n’roll, combined with a grass-roots, anti-fascist slant.Crazy Arm’s new single, “Floating Bones,” was recorded during the sessions for their 2021 Dark Hands, Thunderbolts LP but underwent a lot of changes, both musically and lyrically. Amaelstrom of punk, rock and hardcore sensibilities with harmony-drenched textures, “FloatingBones” is Crazy Arm at their very best: relentless, infectious and indignant.

With the recent 10 year anniversary of Margaret Thatcher’s death, the song’s lyrics detail a renewed dedication to resisting the cruel neo-liberal policies that started on her watch; as well as decrying the disgraceful Illegal Migration Bill which the Tories have devised to further their pursuit of the ‘hostile environment.’ The bill would allow the government to criminalize, detainand deport asylum seekers which, according to the UN, is a “clear breach of The RefugeeConvention.”

The Lightning Struck Go the Distance on ‘bolt from the blue’

Indie rock act The Lightning Struck’s sound didn’t happen by accident. In 2000, frontman Loren Davie moved to New York City after listening to The Velvet Underground and Nico one too many times. Over two decades of making music there later, Loren returned to his hometown of Toronto and brought the city’s sound with him. He formed The Lightning Struck with old friends Michael Milanetti and Blitz, and the trio were soon joined by Aussie expat drummer Liam Baidon.

Debut full-length, bolt from the blue, is a straightforward rock release that treads a fine line between groove and noise – two genres that serve as essential to the band’s identity. While this could arguably be dubbed as a pandemic album, it’s more of a recovery album. There is a struggle to come to terms with our current world both as a society and on a personal level. bolt from the blue explores our anxieties and negotiation with the world as we find it now.

Groovy focus track, “Rock n Roll Ending,” looks at the 21st century situation of “burnout” – read as: systemic exploitation – and rejects it entirely. “Don’t want a culture where we eat our young,” Loren protests. “Caught in a web of scams before we’ve begun.”