Take a look at the latest video from the collaboration between Ryder Havdale and La+ch (Coleman Hell). “Eucalyptus” was filmed on Sproat Lake, BC at a cabin built by Havdale’s great grandfather in the ’40s. The video features some stunning drone shots of BC’s winter beauty, framed in this quite dark storyline. Take a look.
Saturday morning vibes.
“Fierce Lion” by Favela, from the album Community.
Check out the latest video from Friendly Fires in “Heaven Let Me In.” Directed by BISON (Bonobo, London Grammar and Jon Hopkins), the video stars acclaimed British actor Jeremy Irvine – famed for his roles in War Horse and Mama Mia – who dances through the streets and landmarks of London’s Docklands to perfectly encapsulate the intoxicating, sun-comes-up feel of the song.
“Heaven Let Me In” is Friendly Fires‘ second brand new song of 2018. Built around a euphoric, clipped, “French touch” style loop, the single is co-produced with Disclosure and was written in one late night session at the lauded electronic duo’s north London studio. It’s the second time these artists have collaborated, Friendly Fires frontman Ed Macfarlane having previously contributed vocals to Disclosure’s debut album (on “Defeated No More”).
Growing up in scattered small towns across the Canadian prairies, Foxwarren is comprised of singer songwriter Andy Shauf (guitars/keys/vocals) and his childhood friends Dallas Bryson (guitar/vocals) and brothers Darryl Kissick (bass) and Avery Kissick (drums & percussion). The four-piece has released its first song “Everything Apart”; the driving krautrock, drum machine backbone of the song evokes a ticking clock – a race against time.
“Combined with Andy’s existential lyrics, the song’s propulsive feel reminded us of the noir-ish tension of classic spy thrillers like ‘The Conversation’, ‘Three Days of The Condor’, and ‘Tinker Tailor Soldier Spy’,” explained the video’s directors, the Ft. Langley Production Company. “With the band’s blessing, we set to work on creating our own micro cold-war thriller, paying homage to era tropes like zoom-heavy camerawork, trench coats, and analogue tech.”