Tre banks captures raw footage for Presston’s What’s Next sights.
Wouldn’t capturing raw footage, catching life happening right before you, be the perfect representation of Moment(s)? The answer seems to be an obvious yes.
Presston has been putting it down since before the release of Moment(s) [listen below], but had one not been paying attention, with these What’s Next sights, they might be feeling the satisfaction of finding a favorite new artist. A “hidden gem” if you will.
These What’s Next sights may be short, but the life in each shot is alluring. That life is certainly matched by Presston’s What’s Next audio, too. This is exactly the sort of feeling, if captured again, that will take Presston from hidden gem to generational highlight.
Tunji and Glassface share the New New sights for Tunji’s New New Why Don’t You?.
In his long anticipated reappearance, Tunji Ige arrives in grand fashion on his newest track, Why don’t you?, confirming that time doesn’t diminish talent or taste.
Why Don’t You? is a dawning track release for those unfamiliar with Tunji’s work. This song is a new promotion for someone already deeply submerged into the hip-hop world.
Listeners are directly in the heart of Tunji’s talents. The union of vocals, lyrics, and production appear effortless for Tunji. His dedication for making a refined return pays off tremendously, generating appreciation for his commitment to the music scene.
Tunji upholds his creative mind in the lyrics. The rhetorical question is continuously followed by smooth reasons to be convinced into his empire. Why Don’t You? has the perfect hook, catching listeners into hearing what Tunji is arranging in his future ahead.
Adding to the lyrical content, Tunji’s voice is an enticing factor in listening to Why Don’t You?. His voice adds a spice to his lyrics, making Why don’t you? a zesty appetizer while we wait for more to come from him.
The background production of Why Don’t You? is an auspicious assertion that Tunji is grinding towards the top. The instrumental is mesmerizing and provocative as if Tunji’s is addressing his own question through the perfectly syndicated beats.
Most of the time, veterans don’t get the luxury of redoing first impressions, but Tunji has used that oddity to his advantage; knowing that his absence created a gap in new content, Tunji took his talents out of remission and set a new standard in what is to be released by him.
Tobi Lou’s debut Game Ova sights, directed by our very own Glassface.
Few things are better than when a visual medicates you just as much as the audio with it does. After watching Tobi Lou’s video for Game Ova, that’s exactly how you’ll feel.
Glassface kills it once again with the vibrant colors, trippy effects, and overall direction of the video. There’s something so serene and innocent about the empty arcade, along with the other settings, that it perfectly mirrors Lou’s vibe, as he speaks on his romantic mishaps of playing games. The Chicago artist told Pigeons and Planes that he “saw a lot of bad videos this year so I just wanted to make a really good one”.
The deed is done and he also leaves us with a sneak preview of an upcoming Glassface-produced (under his music moniker Facer @facerandcompany) track that absolutely knocks.
Don’t you hate it when people question your availability? I mean, you have to be sick and tired of that “wyd” right in the middle of your shift right? Maybe not, but if that just so happens to be your situation, Larry June’s I’m Workin’ is the anthem.
The video is a must view, on top of all that. Who doesn’t want to see June moving oranges through a complex network of sexy women wielding guns? Give me a “not me,” I dare you!
Bring Yo Friends has been visualized to perfection. Directed by Glassface, Marcus Hyde, Child Artt, Molly Rose, & Manbaby.
That cut that pushes crowd participation up to eleven at last has been blessed with Glassface sights. As always, Glassface (along with Marcus Hyde, Child Artt, Molly Rose, & Manbaby) illuminates the mind’s eye, pulling out all the stops to turn Tunji’s Bring Yo Friends audio into visual.
This time around the visual seamlessly dances between real life and cartoon animation, with all the beauty the world brings as a backdrop to Tunji and his Bring Yo Friends tour members, among other special guests.
Even if you’ve played this jawn a hundred times, you’ll be down to loop this mesmerising visual for a while. It’s too powerful not to.
When an artist or band decides to alter their outward image in any sort of way, often they distance themselves from their past, whether that be failures or successes.
With the announcement of his Starboy album, scheduled to be released on November 25th, and the reveal of its artwork indicating Abel had cut his hair, this seemed to be where The Weeknd was headed as well. That inference just became an especially apparent truth, as Abel dances through these sights with a neon pink cross, literally smashing pieces of his past. Plaque’s destroyed, cases filled with trophies smashed. Nothing within Abel’s view left unharmed.
The Weeknd is entering a new chapter. One with zero regard for the past, completely pointed toward the path ahead. It couldn’t be anymore exciting. November 25th cannot come soon enough.
Wara is back with a sight for his Down Since Birth.
Does it get anymore American than chilling in deserted graffiti-laden buildings, smashing guitars, and rocking tattered up flags? Seriously.
Wara From the NBHD’s music brims with energy, frustration, and power. Each sight Wara has dropped encapsulates these elements through remarkable imagery, and these Down Since Birth sights continues carrying that torch.
Shots of Wara hanging from a crane, guitars smashing bottles; those same guitars being smashed then transformed into offerings for the sun, directors Eric Morris and Wara did not play iteasy with this one.
If you haven’t yet, be sure to listen to the record Down Since Birth can be found on, If Guns Could Speak PSA. It’s an absolute must listen.
For those that have been yearning for a world translated into sine waves, today Death Grips bring you the fresh Eh sights.
While Bottomless Pit may simply be a refinement on what the group has been doing since inception, but that hasn’t slowed Death Grips appetite in bringing unique art to the table.
Here we have three memorable scenes. One of which, a sky, tying the two others together. This time around, in what we’ll label scene 2, MC Ride provides solace, as the other scene, which we’ll label scene 3, offers a particularly disturbing shot of someone being smothered by a sine pillow. Needless to say, this definitely isn’t as lighthearted as a boot lipsyncing Giving Bad People Good Ideas.
ABRA shares her CRYBABY sights a day ahead of EP release.
Dressed in fluctuating blue and red hues, ABRA’s Zaiba Jabbar-directed CRYBABY sights tell a hot and cold visual story.
Like many previous ABRA sights, the cast consists of her and a lone man, presumably taking the role of spurner, or the one calling ABRA a crybaby in the story within CRYBABY‘s lyrics.
The two spend few moments together, and in the end, as the sun disappears, it appears the fire between the two does as well. This is doubly supported by a shot of ABRA swiftly blowing out the flame of a lighter.
Ultimately, like most AWFUL sights, CRYBABY offers a whole lot in atmosphere without taking things to extravagant or lavish levels. Less is more put into perfect play. Tomorrow marks the release of ABRA’s Princess EP. If it’s even half as good as last year’s phenomenal Rose, we are in for another strong AWFUL release.
To provide awareness for the early release of Freetown Sounds, Dev releases the latest Blood Orange sight for his Augustine sounds.
Summer, with its warmth and promise of boundless fun, is a season which should inherently provide images and memories of happiness, so when an artist, such as Dev Hynes, uses is it as a backdrop for Augustine, a song in which is a complex split between free expression and a palatable pain, what you get is a head-spinning blend of power, beauty, sadness, & maybe hope, but that last one is questionable.
The cinematography is divine. Hynes latest signature of bringing out dancers continues, and in the end, everything that happens on screen is mesmerizing, everyone and everything appearing as if, even if some of us are struggling, or have been in pain, even when due to systems which seem impossible to overcome, things are alright in this moment. Maybe that’s what Summer really is to us.