Guitarist, singer and songwriter Troy Mercy says of his new music video “A Place of Our Own,” “Visually I played up the song’s lyrical themes of feeling alienated in the normal day-to-day cycle. I admire the films by Cocteau, Tati, Kenneth Anger, and Gilliam. So I thought some of that more oblique imagery would hit the mark here. It’s a hopeful song, but you really don’t have any need for hope unless you find yourself currently in the dark, y’know?”
Guitarist, singer and songwriter Troy Mercy says of his new music video “A Place of Our Own,” “Visually I played up the song’s lyrical themes of feeling alienated in the normal day-to-day cycle. I admire the films by Cocteau, Tati, Kenneth Anger, and Gilliam. So I thought some of that more oblique imagery would hit the mark here. It’s a hopeful song, but you really don’t have any need for hope unless you find yourself currently in the dark, y’know?”
It’s been a whirlwind couple of years for Chicago’s romantic indie-pop outfit Brigitte Calls Me Baby. Just two years after releasing their debut, The Future Is Our Way Out, and sharing stages with the likes of Fontaines D.C., Morrissey, and The Last Dinner Party, the band returns with the magnificent Irreversible. It’s the soundtrack to an imaginary ’80s high school movie that includes a dramatic prom finale where the on-again/off-again couple finally reunites and rediscovers love.
It’s been a whirlwind couple of years for Chicago’s romantic indie-pop outfit Brigitte Calls Me Baby. Just two years after releasing their debut, The Future Is Our Way Out, and sharing stages with the likes of Fontaines D.C., Morrissey, and The Last Dinner Party, the band returns with the magnificent Irreversible. It’s the soundtrack to an imaginary ’80s high school movie that includes a dramatic prom finale where the on-again/off-again couple finally reunites and rediscovers love.
Over their eighteen years as a band, Jim Putnam’s Los Angeles based collective Radar Brothers proved to be a model of consistency and melancholic, sun-baked comfort. Defying conventional, perpetual myths that artists must consciously reinvent themselves, a deep dive retrospective at the band’s working class trajectory reveals a singular path on the perennial edge of a larger, opportunistic breakthrough.
Over their eighteen years as a band, Jim Putnam’s Los Angeles based collective Radar Brothers proved to be a model of consistency and melancholic, sun-baked comfort. Defying conventional, perpetual myths that artists must consciously reinvent themselves, a deep dive retrospective at the band’s working class trajectory reveals a singular path on the perennial edge of a larger, opportunistic breakthrough.
