The track, taken from their latest album “LOVE Part One & Two”, is conquering radio stations worldwide with its ear-catching sound. Fans of the band are now eagerly awaiting the music video for the single which is currently being shot by the band.
Their “LOVE Part One & Two” lead single Anxiety was accompanied by a high-tech music video that was shot at a Sky Church venue at Seattle’s Experience Music Project Museum. The state-of-the-art complex boasts a 48,000 Watt sound system and the world’s largest indoor video screen. So this music video comes much anticipated.
As long as you’ve been briefed on Yorkshire local history, you know where you are with Richard Hawley. His 2009 album Truleove’s Gutter took its name from the site of an 18th century tavern whose effluent spilled into the River Don. His 2005 Coles Corner memorialized a junction outside a Sheffield Department store that was a rendez-vous for 1950s couples.
In 1570, a few years before he became preoccupied with alchemical quests, heretical visions and attempts to divine the language of angels, Dr John Dee was commissioned to write a government report on the state of England.
After undergoing emergency open-heart surgery in 2010, Simone Felice appears to have taken solace in first principles. Having stepped away from the Felice Brothers in 2009 and put The Duke & The King on hiatus, his solo debut is simple and earthy, leaning on little more than organ, warm acoustic guitar and his wondrous singing, every note carrying the betraying quaver of a man who feels a little too much.
Among the residents of Treme, David Simon’s HBO drama series about the inhabitants of New Orleans in the wake of Hurricane Katrina, you’ll find a character called Delmond. Delmond, a talented jazz trumpeter, is a deeply conflicted individual. In the person of his father, he is tied to the ruined city, its historic music and its obscure ritual cultures. And yet, he is drawn to the East coast, where the ensemble in which he plays is in considerable demand.
On the generally acclaimed Let England Shake, Harvey gave her music a bony, volkish edge, flaying it back to strummed autoharp, electric guitar and crude drums, mongrelising it with awkwardy intrusive sampling of Middle Eastern singers, dub interjections and huntsmen’s horns. Seamus Murphy’s cinematography complements this approach perfectly: not storyboarded, but collaged from various journeys around the island made during 2011, from the remotest hedgerows to the heart of London.
