Kick and the Hug’s Video for their Single “Born Too Late” is an Embrace of Live Music Experience of the Past and Present

The up and coming four-piece indie pop band, Kick and the Hug, grew up with a live music experience that, simply put, is slowly going out of style. The era of taking in the music by feeling it is now gone. While the music listeners and concert goers of today still take in the music, though in a new and different way, what they have that Kick and the Hug didn’t is the internet. Smartphones and social media have changed the landscape of concerts and live music, therefore changing the way music is experienced. The generation of Woodstock attendees and Dead Heads are replaced with the new generation of P!nk and Arianna Grande concerts, which is usually posted about the next day. Kick and the Hug’s most recent single, “Born Too Late” is a pop rock song about seeing a concert through the phone.

The video for “Born Too Late” takes the idea of being born into a generation of music that enjoys a concert through posting about being there on Instagram and turns it on it’s head. The normal thing to do now is to post a photo and/or video of the concert you went to. Members of the Kick and the Hug, who would enjoy music like the Dead Heads, were now experiencing music through their phones. They had changed with the time and realized that they were no longer experiencing music the same way either. Their use of baby dolls in the video is a visualization of the older members of the band both embracing social media and a reminder that they don’t need their phones to have an experience.

“It’s a song about watching shows through your phone…being a camera person instead of just being fully immersed in the show,” shares Doug Murray, lead singer and guitar player of Kick and the Hug. “It’s nice to show everyone on social media that you’re having a great time at this awesome show…but you know what’s better? Actually having the great time, not thinking about a post, or tomorrow or even five minutes into the future. It’s a little preachy, cause I catch myself posting clips all the time, but after releasing this song it’s a pretty good reminder to just get the damn shot, stick the phone in my pocket and connect with what’s going on around me.“

Watch the video:

You can find Kick and the Hug via:
Website // Instagram // Facebook // YouTube // Spotify // Soundcloud 

Stardust Crush’s Video for their Latest Single is Thick with Symbolism

Seattle based music project, Stardust Crush, lead by Chris Hill, just released their music video for their groovy song “The Gravity of the Goddess (No One Else Can Dance Like You).” The psychedelic rock and chill-pop song sounds like that of The Grateful Dead meets Pink Floyd. Inspired by a friend of his who was going through a hard and dark time, Chris initially wrote this song for him. He hoped that this song would help his friend out of the dark, and eventually “The Gravity of the Goddess” was born.

“The piano part made me think about a specific friend going through a hard time and I realized the song was writing itself to be encouraging to them…I was just along for the ride,” shares Chris. “I want people to know that they have more strength inside themselves than they realize.”

Watch here:

“‘The Gravity of the Goddess’ video reveals how things seemingly juxtaposed are actually connected at a deeper level,” shares Chris. “Such as walking through the woods day and night or a film of boxing juxtaposed against lyrics about dancing. A small spinning Earth travels through an evergreen forest located upon its own spherical body… It is still at home even as it travels and so are you. You will encounter obstacles along your own yellow brick road through space but you can overcome them by knowing your self-worth…This knowledge is the key to the Emerald City.”

Chris Hill tells us to embrace the dark, because there is always light at the end. He hopes to bring out the inner strength within us all. The vigor of the music, the build up of sounds in the chorus, is the symbol of your inner warrior, who is fighting the battle of self-acceptance and self-love within ourselves. The joy and fearlessness in the music is a sign that that inner warrior is winning

You can find Chris Hill via:

Website // Instagram // Facebook // Twitter // YouTube // Spotify // Soundcloud

“Hit and Run” Shares the Message of Growth and Change Within Ourselves

Zack King, the young Minnesota musician, is not afraid to get real in his newest single “Hit and Run.” He isn’t afraid to get personal and vulnerable when it comes to his music, and “Hit and Run” is no different. This song in particular is about growth and the strength and bravery it takes to move forward rather than desperately hold onto the past. Zack shares that “trying to hold on to who you used to be can be toxic, especially when you don’t recognize that person anymore. Looking in the mirror and seeing a new person can be scary, but also rewarding. Why not give the new you a chance and see what good can come from it?” People evolve all the time. Zack asks whether you want to embrace who you become.

Zack just released the music video for “Hit and Run” which is a wonderful visualization of this journey. While this story is based on Zack’s own experience, he uses his knowledge to help others grow. This acoustic style pop meets grunge song is for those who don’t like who they’ve become. Zack, for example, felt lost and alone after graduating college and turned to drugs and alcohol to try and find who he was. On top of that, he treated the people he loves the most poorly. After time, all of these bad habits and behaviors towards himself and others made him realize that he no longer recognized the person staring back at him in the mirror. He became unrecognizable to himself. So, he set out to change for the better.

While he doesn’t like who he was looking back, he accepts it and sees that it wasn’t all bad. It was part of his journey and he was able to learn and grow as a person. “It’s okay to move on from a past life, especially when it will benefit you, and those around you,” Zack shares. “Don’t be afraid to take that leap from who you used to be, to who you want to become.”

Watch “Hit and Run” here:

You can find Zack King via:
Website // Instagram // Facebook // YouTube // Spotify // Apple Music // Bandcamp

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Video Voyager: 3Q’s with Goose Bolton

Goose Bolton is a mysterious figure, who we are told came from outer space and crash landed here on earth in early AD 2021 after an intergalactic heist went awry. He has been releasing experimental music for a while, and his latest single/video “Lunatic” is one of them.

We spoke with Goose about this strange, yet powerful video:

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

The song originated as a sonic accompaniment to a story about someone who starts hallucinating that inanimate objects can speak to them. When conceiving of a music video, I chose to visualize this song because it’s one of my favorites on my upcoming record and because, thematically, it felt like the most appropriate starting point to accompany the strange images and narratives that swirl around in my head. I didn’t feel locked into any single specific narrative with this song, and so the Tiger Ji (the director) and I could really let our minds run free during the brainstorming process. 

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

The initial inspiration for this video began a dream that Tiger had, which contained the specific image of men in business suits wriggling down a city street while wrapped in plastic. This was the springboard for us deciding that the video should be about a person who is seeing something crazy in the city (that only they can see) and their response to that. Initially, we were going to have the video’s main character be chased by fish people, but then we decided that lizard people would be more relevant to contemporary conspiracy theory as well as more thematically interesting, as it lets our main character wrestle with her own reptilian identity by the end of the film. We were aiming for a very specific mood that mingled elements of the absurd, science-fiction, horror, and comedy. I decided it made sense for the main character to be wearing a hospital gown after having escaped an asylum because the word “Lunatic” to me always seems like it’s a title assigned by society to an individual, rather than a subjective state that the individual feels (“crazy” for instance feels more like it can be either an assigned title or a subjective identity), so the hospital gown was the most efficient way to convey that this person is The Lunatic. The version of lunacy we wanted to explore in this music video is not mental illness. Rather, it is a label thrust upon a person by others in response to that person’s reaction to outside factors or new knowledge. This is important because the main character is not insane—she’s just the only person who can see the lizard people.

What was the process of making this video?

We filmed the video over 2 days across different areas of New York City in both Manhattan and Brooklyn. The final climactic scene with (spoilers) all of the dancing lizard people is the rooftop of a parking garage on the Lower East Side of Manhattan, most of the street pursuit scenes were shot in Bushwick, and we filmed the subway scene at the 2nd Ave subway stop in Manhattan as well. The shoot was incredibly smooth with zero hiccups. Tiger is the kind of director that has every single shot meticulously planned and storyboarded weeks ahead of the shoot, which led to a fun and efficient filming experience where we could focus primarily on the emotions and physicality of the actors in each scene. 

Watch “Lunatic” here:

Video Voyager: Questions with Kao Wonder

Los Angeles-based dance-pop and electronic artist, Kao Wonder, just released his music video for his song “Safe Space” from his album, EVOLUTION. He employed his prior dance experience to guide the videos narrative, with Kao acting as a narrator in the story. Kao’s voice is very much like Neyo and his music is much like Dua Lipa meets Tao Cruz. “Safe Space” makes you want to dance along. We spoke with Kao Wonder and he tells us all about the video below:

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

Funny enough, when I wrote this song, I was actually paying homage to all my female friends who considered the LGTBQ nightlife (bars/clubs) their ‘safe space’. Many of them  would say to me “well this is my safe space, here I don’t have to worry about men and their ancient pick up lines, I don’t have to worry about other women judging me or acting a certain way towards me. There, I can actually have the most fun and be myself and just have the best time ever with in such a free spirited culture.” How could you forget an answer like that?! I couldn’t! So I wanted to take that and turn it into a love song. It wasn’t that easy at first as love songs aren’t my forte lol, but when I was at the airport on my way to Atlanta to record with my Producer(s) (shouts to Tedy P. and Ced Ivory), I couldn’t figure out how to start it out….until I looked up and saw a guy take off his face mask (because he was eating – COVID rules), and he smiled at this female who smiled back at him from across the way. You could feel that type of warmness in the coldest of winters! So I said to myself, “It’s the smile for me,” and the the rest of the song wrote itself out. I would hope that’s one of the things that makes someone feel intricately connected when they meet their soulmate.


Tedy P and I have this thing before he creates each song, he always begins by saying to me “tell me how you’re feeling about this tune”, and I said for this particular track I want to pay homage to the musical decade that helped shape me and my creativity; the 90s! Something like the New Jack Swing, mixed with a little hip hop and up-tempo R&B, and Pop. Make it as if we were in1995. He did just that!! When the song was done and I heard the final mix, I literally shed a tear because it reminded of growing up in Brooklyn and all my friends back home. It reminded me of a time before social media, when we would run outside and play ‘Tag ‘ or ‘Mother May I?’, Double Dutch or Hand-ball in the park or on the side of a building. Just the fun we had outdoors, music would be BOOMING from someone’s boombox, house or car, It gave me this nostalgia that was a balm to my heart, so I knew I had to do a video to project these thoughts to the world, because I know someone in this world wants to take that same trip down memory lane with me. To get away from all these current politics and redundancies and just remember what it was to be a kid playing until the street lights came on. These thoughts are my “safe space”…

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

Well as you know, the concept of the song Safe Space is  someone being their “safe space”, meaning being with someone you are comfortable with, not afraid to be vulnerable with, the person who you can be your honest and truthful self. As fun as that sounds and as great as that concept is…what if we took an alternative look at the premise; suppose there is an object or place that you consider your “safe space”? What if it’s cooking? What if it’s teaching? Or…like me…..what if it’s PERFORMING ? My team and I decided to explore these alternate roads and rather tell the traditional story of’ ‘girl meets boy’, why not make Dance’ the safe space for our protagonist instead? If you look at the video closely, you will see two individuals who met doing what they love to do, which is dancing (shouts to my leads Indo Hayes (who assisted me with the choreography of the video and Malik ‘Gvmby’ Bannister who is also phenomenal). From an innocent viewer’s eyes, during the club scene it looks like as time progresses the two leads in the video separate, which makes our lead male character sad and a bit lonely in his solo scenes, but the element of surprise comes when you see an older version of them in the end still together. So what was he sad about? He actually hurt his leg, which prevented him from dancing alongside his beau (this is why he was at the doctor’s office and this is also he had a horrible limp with his leg up in the club scene) , but still, when he looks to the alley in his older form, he’s reminded of how much dance was his safe space. So the love story is there …..but the ‘subject’ of the love story is what makes it so sweet, and my Creative Director, Joaquin Sagarra, did a fantastic job of telling this story visually. As far as the “setting” of the video goes, that was from my Videographer Jimmy Collier. He knew we wanted to keep the dedication to the decade of the song, but he also reminded us that the Caribbean/Afro culture shouldn’t be forgotten about during these times,..especially with the Caribbean influence in Brooklyn (interestingly enough this also was a HUGE influence on me, shout out to my favorite restaurant still standing back home… the infamous Tower Isle Patty Shop, i can literally taste my favorite chicken patty w/ cocoa bread as I write this and it was literally one block over from where i lived 😉  ) . It was like the icing on a perfectly lined up cake!! 3 tier !!! This is what made this particular video soo monumental for my team and myself? This idea was so big in fact, that it inspired Ced to go BACK and remix the song and create a ‘Riddim Remix” (which basically adds elements of dancehall/afro beats to the song), in which we used for the video and which was released Friday 11/5. All in all, this project was such an experience! 

Watch now:

You can find more on Kao Wonder via:
Website
Instagram
YouTube
Spotify

Video Voyager: 3Q’s with Patricia Silverberg

Patricia Silverberg has always loved music, but never thought that she had the “proper range” to be successful enough. That all changed after attending the Lilith Festival in Phoenix, Arizona, where she saw Natalie Merchant, The Indigo Girls, and Sarah McLachlan perform. From that moment on, she knew that music was the path for her. When she watched those powerful women in action, she was inspired to take the leap.

Her new video to accompany her rendition of “Midnight Special” is all about giving a voice to the voiceless. Let’s hear what Patricia had to say about her video:

Tell us the story of this song. Why did you choose to visualize this song specifically?

“Midnight Special” is a traditional American folk song with origins circa 1900. No one knows who the true author of the song is, but Leadbelly, a former inmate and famed blues singer, made the song famous in the 1930s. I discovered Odetta’s version a few years ago. Her emotional contralto voice enthralled and inspired me. I adopted the song and began singing it at local folk festivals. To make this song modern and relatable, I added a verse about “Tent City” in Phoenix (I live in Arizona). As a folk singer, I wanted to call out the horrendous injustices that the former sheriff made towards Latinos and anyone who spoke out against him. In my opinion, “Tent City” is against the 8th Amendment. (I can only say this as he is no longer in power, or I’d be sent to “Tent City”) I feel like I’m doing my job as a folk singer!

What is the inspiration behind this video (visual, storyline, etc)? 

Since I created an all-acoustic blues/Americana version of the song, I wanted the video to have an earthy unadorned feel to it. If I chose flashy special effects and images, the message, the lyrics, and the organic feel of the music would have been lost. Since I had a small budget, I used historical pictures as they are no longer under copyright restrictions. I found most of the assets from the Library of Congress. I interweaved a video of myself with images of steam trains (including footage from Thomas Edison’s studio) and prisoners to illustrate the story. I purposefully chose images representing diverse people, including African Americans and women. One of the images is of Ledbelly: the man credited for making the song famous. 

What was the process of making this video?

My budget was limited. I used my cell phone with a simple background to capture myself lip-syncing the song. A small lamp sits in frame to represent the Midnight Special “shining its ever-lovin’ light on me.” The filming took place at Greenworld Recording in Gilbert, AZ; the studio where I recorded my EP. I used a video editing application to slice the footage with the historical photos and films. The final master of the song was added to the editor’s timeline. I added fade in/out transitions in between images for subtle special effects. Fitting the historical images and film into the same frame along with the video proved challenging. I had to crop and adjust each asset. 

Watch now:

You can find Patricia Silverberg via:
Website
Facebook
Twitter
YouTube
Spotify
Soundcloud