KT Tunstall walking on a plank to "Feel It All"

Ivor Novello Award winning singer-songwriter and guitarist KT Tunstall unveiled her stunningly simple new music video for her soft ballad, "Feel It All," the lead single from 37-year-old Scottish songstress' upcoming and much-anticipated fifth album, straight from her heart, "Invisible Empire // Crescent Moon," which set to be released on June 10 in the U.K. and August 6 in the U.S., and will feature a more country folk sound than her previous album, "Tiger Suit."
Tunstall recently separated from her husband of four years, drummer Luke Bullen, and lost her father last year, new personal circumstances she hints at a more country folk sound from her. "So much has changed. I've followed my path and ended up in a different place" and she describes the album as "full of songs from the heart." This new single speaks of death, the memory, and how it will eventually cure the pain. It's a simple song, almost acoustic, in which the voice of the singer sounds more heartfelt than ever. An intimate production issue that moves between country, folk and blues.
"Feel It All" appears on the album in two versions; the original album version, with PJ Harvey collaborator John Parish on drumming duty, and the 'band jam' version, recorded live in the Arizona desert. Tunstall says of the track: "It's probably the most personal song on the album, it was really medicine for me, that song." The new album has been divided into 2 parts. The former, 'Invisible Empire' is the dark side, filled with mortality, a subject close to her heart following the passing away of her father last summer. The latter, 'Crescent Moon' included "Feel It All," evokes an ethereal mood, more reflective of deeply felt changes in outlook and shifts in her personal life. Together, they add up to Tunstall's most cohesive and affecting album to date.
This soft ballad reminds us of the Canadian Feist & the Georgian Katie Melua. Surprising but striking too. It's great to see Tunstall back on form with this gorgeous folk track and a beautiful video to accompany it. The video for "Feel It All," is 4 minutes and 10 seconds in length and shows Tunstall walking on a plank over the desert of Tucson, Arizona and it clearly shows she wants to "Feel It All". Warning - vertigo sufferers be aware! If you're a fan, check out the new video underneath.

Dido sings about breaking up in "End of Night"

Dido has just released the brand new music video for her soul-bearing account of a breakup, "End of Night," the second single and third overall from English singer-songwriter's latest fourth studio album. "Girl Who Got Away." Over the span of four albums she's been committed to a singularity of vision and emotional purpose that flouts all traditional boundaries set for female artists. It's a feat in a music industry that constantly seeks to silence women from expressing 'ugly' emotions that Dido's never broken a sweat including them in each of her albums.
After a five-year absence, the 41-year-old pop veteran finally returns, and her voice sounds exactly as you remember it, soft and effortless, and her music remains quintessentially pleasant. One of the most interesting tracks, though, is herself and Greg Kurstin-produced synth pop magic, "End of Night," a cool and witty f**k off to a past lover. There is enough going on here to please old fans and just the right amount of experimentation for newer fans to appreciate. Welcome back girl!
This barbed wit of "End of Night," is a perfect example of that. It rumbles with dispassionate condescension over a lover too willfully careless to keep the beat of the emotional tango that was their relationship. Dido's voice is righteous in its arctic delivery. The self-emancipation song sees a stronger braver girl who is to face up to the reality of who her lover was and get away to celebrate the end of night. Speaking about the inspiration behind her new single "End of Night," she said: "Someone had really p***** me off, which is rare. It's about that moment of liberation when you finally realise you're not bothered anymore."
It was only a matter of time before English songstress Dido would crossover into EDM; god knows she has the vocals for it. This dynamic track might sound upbeat, but lyrically it is a rather vicious song about the breaking up of a relationship. On Twitter, Dido said "#endofnight the person i wrote this about is, well was, a friend... they have heard the song and love it and have no idea it's about them!" On Twitter @ShanLovegood_TW asked "what is your favourite part of #EndOfNight ?" Dido said "#endofnight you were ugly when the beat kicked in and ugly when it left... and the chorus! i wrote it in 2010 but i still love it. x."

Kate Nash poured guts and mind in "OHMYGOD!"

Kate Nash is back, and she's got reasons to be bitter with a new video earlier today on MTV for her new single, "OMYGOD!" in support of her fan-funded third album, "Girl Talk." The 25-year-old British songstress may be known for making upbeat pop, but she admits that she was in "a lot of pain" and going through "a very sh**ty time" while writing her "Girl Talk," which she channels feminism, sexism and fun on it. Nash uses music as "therapy" and found her new album was the perfect way to put all her feelings into songs.
With her 2010 sophomore album, "My Best Friend Is You," Nash successfully broadened her intimate folk-pop outlook to a more slickly produced, post-Amy Winehouse neon-soul sound. She was clearly growing up and growing her sound along the way. At 25, Nash is still figuring out what she likes musically and, most of all, who she is. She's doing what most artists who became famous at a young age eventually do, which is to say that she's rebelling against what made her famous.
Nash had a torrid 2012 and is well on her path to becoming massive from indie popper to badass rocker, and she takes this growth even further on her new punk-tinged raw and rambunctious "Girl Talk." And yes, women who own bunny rabbits named Fluffy can still be badass. Thankfully, while Nash has moved to a more extroverted, aggressive sound, she hasn't sacrificed any of the personal, intimate lyrics that marked the best of her early songs. Nash says she has "absolutely poured my heart, soul, brain, guts, and mind into this record" following a "significantly important and challenging year," and "Girl Talk" reflects that intensity.
Nash is clearly a woman dictated, and driven, by her moods and impulses, wherever they may lead. She's got thrust, she's open, articulate, opinionated, and refuses to ever edit herself, to rein herself in. This is her, take it or leave it. She leers as she lambasts those she once considered soul-mates in songs like "OMYGOD!" which benefits from a chorus that feels like it's been beamed in from another, more tuneful place.  "OMYGOD!" lyrics showcase Nash's poeticism, musicality and a perfect harmony between music and lyrics. "OMYGOD! is the poppiest one on the record and it still shows that I still have inside me those pop medleys and harmonies," Nash said about song. Enjoy the clip.

Ashanti cooing her feelings "Never Should Have"

"You never should have loved me...," intense! Ashanti doesn't hide her feelings and reminisces about love gone wrong in the brand-new moving music video, that premiered exclusively via ET Online, to her latest crossover track, "Never Should Have," the first single from the Grammy-winning singer's upcoming oft-delayed comeback fifth studio album, and first in five years, "Braveheart," is slated for a June 11 release.
The title of the album was inspired by the 1995 film, "Braveheart," starring Mel Gibson on the First War of Scottish Independence against England. Ashanti says she channeled the underdog mentality and raw passion in the film. Speaking of her LP "Braveheart," the "Army Wives" star said, “It's something for women, just being empowering. This album is something very deep. I'm going places that I haven't gone on different albums." The former Murder Inc starlet is all too familiar with heartbreak and being the innocent victim of a smooth criminal who never loved her in the first place.
The 32-year-old New Yorker has never had the strongest voice, but she's always made bangers and definitely more powerful. The heart-wrenching "Never Should Have," which was produced by Mansur, is a pretty emotional ballad, and sees the R&B singer cooing of a former lover she now regrets over a marching band-driven beat that could easily sit on the pop charts. The emotionally-powerful heartbreak song soundtracks some very real relationship troubles while the songstress swans around idyllic settings.
Unlike her previously released, the Sanji Senaka-directed "Never Should Have" video displays Ashanti's more emotional side, detailing the heartbreak of love. Shot in Santa Barbara, California, we see The R&B songstress conveys heartbreak through the emotional storylines and pouring her heart out as a teary-eyed Ashanti sings the resentful lyrics on the beach, on a deserted road, and in the middle of some lost ruins, looking stunning in different flattering, and long gowns as the sun sets and sheds a tear about love lost. Besides the Ashanti scenes, the video features story-lines of random people and couples who are in some way facing struggles.

NERVO help a girl "Hold On" to her lost loved one

NERVO have recently released a chilling music video for their high energy vocal single, "Hold On," the third single taken from Australian Sister DJ duo's debut studio album that’s scheduled for release by the end of the year. It's been a hot minute since we last heard from former models turned DJs Olivia and Miriam, the paralyzingly gorgeous and talented Aussie twins, otherwise known as NERVO. And their "Hold On," is the latest banger added to the growing arsenal of hits from the dance music scene's fast rising stars.
Their latest release, “Hold On,” is a progressive banger with a steady build and airy delicate vocals that glimmer amidst metallic synths. The track carries the electro-influenced edge of co-producer R3hab, creating a stunning contrast against soaring and uplifting trance-reminiscent melodies. It marks a departure from the vocal chants and pure attitude of earlier club-crushing bangers. The sexy track opens with creeping vocal harmonies that drop the hook right out of the gate. It's the kind of anthem that involuntarily prompts you to visualize a giant hoard of sun-soaked festival goers sheathed in neon ribbon and be-fringed crop tops undulating up and down in slow motion.
But if you listen carefully, you'll hear Olivia and Miriam plead a simple, but sincere message: "Give us a chance / I just wanna hold on." The NERVO girls are striking it big with "Hold On," a strong electro-house production with perfect electronic base, which still boasts NERVO's signature club-ready sound and a dance floor-ready big breakdown, but offers up a vibrant melody and shows a more vulnerable side of Olivia and Miriam with the heavy punch of the kick drum. Accurately conveying Club Atmosphere yet keeping it on the mellow more accessible side to those who are not dancing their hearts out. It changes the vibe completely from what we used to expect from NERVO. Their vocals here are more intimate.
The tune is a huge representation of the kind of pop EDM that’s bound to be getting love in the near future. If you thought EDM was already pop/mainstream, you've not seen anything yet. The song is very electrifying and the cinematography visuals are very reflective of the lyrics. If only NERVO was around to give dad some champagne while we were moving into a new house. A pretty girl, some makeup and a ghost, the "Hold On" clip paints a rather haunting atmosphere for the track and it's quite fitting. In the video, a woman laments on the loss of her loved one in a tragic accident while going through physical objects that make her remember him. It's easily their best visual work.

Alicia Keys & Maxwell steam up in 'Fire We Make'

Turning up the heat! Alicia Keys shows fans a real taste of her sensual side in her brand-new steamy music video for new single, "Fire We Make," serves as the second worldwide single, is one of the more soulful cuts off R&B songstress' latest fifth studio album album, "Girl On Fire." The stunning Keys teamed up with soul/R&B singer Maxwell and together the pair demonstrate their impressive vocal range across the track, created a steamy period piece set in old New Orleans as its backdrop for love. As Keys takes a break on a beach in the Bahamas, her new video is making waves of its own.
This sultry duet with Maxwell features a solo from bluesy-rock guitarist Gary Clark Jr, who told MTV: "It was originally just a one-time gig. She was doing a benefit for Keep A Child Alive here in NYC. She was asking if someone could play some guitar on George Harrison's 'While My Guitar Gently Weeps.'" When it came down to laying down his contribution, Clark has nothing but praise for Keys: "She's just sweet, genuine, people. I mean, she's Alicia Keys. I've been a fan for a minute. She's very professional. I went in and I was like, 'What do you want me to do?' and she was like, 'This is the song. You just do what you do, and we'll see what happens.' It was one of the best studio experiences I've ever had."
Directed by Chris Robinson, the visual is set in the French Quarter hotel of an old, '50s period-styled New Orleans, and tells a story of a girl working at her family's boarding house who falls in love with a handsome guest and traveling singer. It begins as a short film, where Keys stars as a gorgeous B&B innkeeper with her sultry voice narrating: "It was an amazing time to be in New Orleans. The heat, the French Quarters, and him. And we fell in love," before a mysterious guest shows up. Keys races downstairs to the reception and the chemistry is immediately evident. As Maxwell asks if there is a room available, the slow, soulful beat kicks in. After the 'flame of love' immediately lights up between them, Keys lets the mystery man into his room before retreating to her own.
The narrative unfolds as the pair, from separate rooms, appear to be resisting the temptation to join one another. He's thinking the same and wonders if the woman in the next room is feeling what he's feeling. Next, Maxwell sings on stage at a tiny, smoke-filled live music venue, while Keys writhes on the floor on the other side of the room rub ice all over her body since there was no air conditioning back then, enthralled. After some more fantasizing, undressing, and sexy stolen glances, the pair eventually meet up in person at the hotel porch at night time to embark on what we're sure is going to be the hottest first-time encounter ever, and to let their sentiments free.

Ciara dances for romantic partner in 'body party'

The R&B siren Ciara and her new beau, Future are totally in love in a new house party-themed clip for her latest smooth R&B beat and miasmic sex-jam, "Body Party," the lead single from her upcoming self-titled fifth studio album, due to be released from July 5. Since the release of 2010's album "Basic Instinct," Ciara has become noticeably more comfortable in her own skin. And she is now inviting fans to her "Body Party."
The 27-year-old slows it down and seductively croons "My body is your party, baby," and other sensual rhymes. Musically, the slow synthesized slinky track "Body Party," is a down-tempo R&B song that samples Ghost Town DJ's 1996 Miami-bass influenced hit "My Boo." And lyrically, it speaks about how Ciara's body is a party for her romantic partner and features "seductively moaning" and "playful bedroom talk." While speaking to Billboard about the song, Ciara said, "Let's just say that this record came out of a very sincere place. I think when things just organically feel right, naturally good things come from it."
Based on a sample of the opening of beloved 1996 bass anthem "My Boo," "Body Party" achieves an extremely modern atmosphere in its open nostalgia. The "My Boo" foundation also gives "Body Party" a dance-music element without killing the sex vibe, another extremely modern choice. Ciara's flirtation with the melody of "My Boo" and her boyfriend Future's adlibs are just right, Ciara cited the strong track as the result of a strong relationship. "I think when things just organically feel right, naturally, good things come from it," she said. "He' s such an amazing, creative person. What I like about [working with] him, it's almost like I got to learn more things about myself."
"The mission is to take you back to that day when guys weren't too cool to dance in the club," Ciara tells MTV News of her new brand-new video, which was filmed in Atlanta, and directed by Director X, and features all-star cameos from Ludacris, Trinidad James, and Jazze Pha. The concept of the video is about how she met her new beau, Future, as the R&B singer singing in a James Bond-style silhouette, heading to a regular party to lay down some dance moves in a "Ballin" shirt and eventually to the boudoir, where she dances for Future in a steamy striptease near a fireplace in somebody’s bedroom. It's just simultaneously sexy and adorable. So press play and let the seduction unfold.

David Guetta, Ne-Yo and Akon are "Play Hard"

After multiple previews, David Guetta finally unleashed the official visuals for his old co-horts Akon and Ne-Yo-assisted new dance track, "Play Hard," the third single from the re-release of 45-year-old French DJ and record producer's fifth studio album, "Nothing but the Beat 2.0," out now on iTunes. The wacky and tacky video, on the other hand, alternates between inexplicable weirdness and poking fun at racial stereotypes — once some people might find offensive!
The chorus melody of the song, "Play Hard," for a soon to be summer club classic is all about working and playing hard, heavily incorporates the classic sample from Alice Deejay and DJ Jurgen's 1999 Eurodance hit "Better Off Alone." The iconic beat track's message is simple: First you work hard, then you play hard, and after that you start all over again - it's the circle of life!
With an arsenal of cataloged wildin out, club tunes it should come as no surprise that French producer has opted to "Play Hard" on his latest fresh dance tune. Joining Guetta on his electro-heavy jam are hitmakers - American R&B singer-songwriter Ne-Yo and American-Senegalese singer/rapper Akon, who both provide the vocal backing for the record, which also takes advantage of a few audio techniques. Both artists also previously collaborated with Guetta on tracks from his "One Love" album - Ne-Yo on "Choose" and Akon on "Sexy Chick." Guetta also produced Akon's 2010 single "Angel."
Pop and Latin American culture meet in Guetta's latest visual ride. The French DJ/producer gets a taste of life in Mexico as he takes a trip down south with Ne-Yo and Akon. The fun-filled clip includes from rodeo's to Ne-Yo eating pancakes to Guetta getting his body inked before hitting a classic rodeo show. Instead of bull riding, the three international stars round up to judge a good old dance competition. The clip has just about everything going on in it. However, the barrage of attention-grabbing visuals won't distract you from the infectious beat, which is really all that matters.

Thirty Seconds To Mars debut epic 'Up In The Air'

Thirty Seconds to Mars is sending its new song into space and tapped into their acting knowledge and cinematic spirit with an artistic short film for the clip of their extravagant new track "Up In The Air," the first single off the rock band's upcoming fourth album, "Love Lust Faith + Dreams," set to be released on May 21, is the band's follow-up to their 2009 LP "This is War."
On March 1, NASA and SpaceX launched the Falcon 9 rocket with "Up in the Air," and carrying a Dragon cargo capsule lifted off from Cape Canaveral in Florida to dock with the International Space Station, where it will be greeted by astronaut Tom Marshburn. "It was a phenomenal morning; it's been a mind-blowing experience, sending our music up into space, where it's pushing into orbit and going around the earth, that's a pretty amazing thing to think about," the band's frontman Jared Leto told MTV News. The song's lyrics suggest that Leto and the boys are weaving a tale of love and regret.

Leto also claimed that the decision to launch the song into orbit had nothing to do with its title. Instead, he and his bandmates were looking to kick off the next chapter of their career in an appropriately massive manner. "'Up in the Air' is the first step, the beginning of a conversation. It's a song that has a lot of energy, a lot of optimism, a lot of life in it. And it's incredibly important to me and Shannon and Tomo." The song's concept of constraint and tension is particularly evident in the line, "I'll wrap my hands around your neck so tight. With love, love, love." Leto expalined the idea of erotic asphyxiation, the lyric has a parallel meaning.
Directed by Bartholomew Cubbins, the full-fledged eight-minute clip was shot at a massive aerospace manufacturing building, now defunct, in Los Angeles. It is an epic, bizarre and hallucinogenic journey through a incredibly surreal landscape and shot in what seems to be an abandoned airplane hangar as he guides controversial artist Damien Hirst, Dita Von Teese and U.S. Olympic gymnasts McKayla Maroney and Jordyn Wieber along the striking visuals that may trigger seizures in people with epilepsy, as the warning cautiously states. Aspects of love, lust, faith, and dreams are shown throughout the colorful, mind-bending video.

will.i.am uses #ThatPOWER for Justin Bieber

Will.i.am got a little help from Justin Bieber's hologram in the just-released sci-fi spectacular and spacey video for their collaborative new dance cut, "#thatPOWER," the third single from Will's upcoming fourth much-delayed solo album, "#willpower," which is slated to drop on Tuesday. The new video, predictably is gaining a lot of traction in the hours after its arrival online, features a hologram of the 19-year-old teen heartthrob looking swaggy while singing the song's hook.
The uptempo, club-geared track is dance-club oriented. Along with the headliner's compulsively body-moving electro-pop boardwork and guilty-pleasure lyricism, #thatPOWER boasts a soaring hook and sweet vocals to the chorus from teenage pop superstar. The track tries to follow the style in the footsteps of many Will.i.am singles before with its thumping club beat, dirty synths, A-list cameo and lots of lyrical swagger about overcoming adversity. "It's not dance, it's like synchronized movement," Will said. A song repetitive and tiresome, with a sound mix of autotune and electronic music, very blunt. A first listen leaves you a little cold, but after several repetitions, is winning.
You'll be as surprised as we are to see some serious choreography going on in this one and not from whom you'd expect! Ghostly, Bieber merely makes his appearance as a hologram , so it's Will himself werking his moves all over cities across the globe, with the help of some clones! As he explains: "This video is probably the most time-consuming video that I've ever been a part of because I had to rehearse choreography, and I've always been against choreography for me. We have this real, next-level, futuristic type of choreography… It's not dance, it's like synchronized movement. I'm really excited about it."
The promo doesn't have much of a story line but is all about setups that are meant to please the eye thanks to appearances from Will. it takes a futuristic twist that Bieber's cameo relies heavily on his hologram and a ghost-like image projected on to various TV screens, while the Black Eyed Peas frontman, wearing a black hat and sunglasses, getting funky in various sci-fi locales with a futuristic sports car and a posse of lookalikes who match his every robotic move with a myriad of dancers, skip across the earth with an army of clones around with six look-alikes in Japan.

Lana Del Rey crashing waves in "Summer Wine"

Follows her reverently reserved cover of Leonard Cohen's "Chelsea Hotel No. 2" last month, Lana Del Rey has gone all vintage on us, this time, the 26-year-old singer has teamed up with her boyfriend, Scottish alt-folk band Kassidy frontman Barrie-James O'Neill for another cover of Nancy Sinatra's 1960s hit, "Summer Wine." And like last cover, this one is pretty damn faithful to the original. Saturated in sex, sepia, and her patented smoky voice, Del Rey never disappoints with those vintage-style visuals that she's become synonymous with, and her latest clip is absolutely marvelous!
Lyrically, "Summer Wine" describes a man, who meets a woman, Sinatra, who notices his silver spurs and invites him to have wine with her. After heavy drinking, the man awakens hungover to find his spurs and money have been stolen by the mysterious woman; the subtext of which being they experienced intercourse and as repayment she misappropriated his "silver spurs a dollar and a dime." He then declares a longing for more of her "wine." Another interpretation, often cited, is that the song is an allegorical description of drug use and that the lyric "she reassured me with an unfamiliar line" specifically refers to cocaine.
Del Rey has never downplayed her affection for Sinatra, you might remember she once called herself a “self-styled gangsta Nancy Sinatra” back in the “Video Games” days. Now, out of nowhere, she's covering a song Sinatra made famous and duet with songwriter Lee Hazelwood in 1967. "It's a little more stripped down but still cinematic and dark," Del Rey, has taken an old-school sound as of late, recently said of her new material. "I've been working on it really slowly but I love everything I've done." And yet, O'Neill in true Sonny & Cher fashion, steps in alongside the Paradise chanteuse, and together the two breezily remake the song with handheld footage of crashing Santa Monica waves and canoodling.
The accompanying music video itself is filmed on a Super 8, and like everything else in the visual world today, sees vintage-filtered home video footage of the pair performing the track in their garden, mostly composed of shots of Del Rey vamping it up on the gorgeous sandy beaches of Los Angeles, prances around flower fields and the twosome cuddling as they serenade each other and sparkle in "Summer Wine" for a very '60s effect. Typical Del Rey, being all perfect and whatnot. There's a reason they call her the gangster Nancy Sinatra, after all!

Macklemore & Ryan Lewis debut "Can't Hold Us"

After months of hype with sixteen different shoots, six continents and one pizza party, Macklemore & Ryan Lewis party on a galleon on their way home in their newly-released astounding visuals for "Can't Hold Us," which featuring Ray Dalton and taken from their collaborative debut studio album, "The Heist." Hollywood's streets are paved with the album inserts and broken dreams of one-hit wonders. But this ambitious music video from the dynamic rapper and producer duo shows the Seattle-based pair has no intention of going anywhere but up and it's spectacular.
"Can't Hold Us" starts on a more serious note than their big impact hit "Thrift Shop." The sleeper hit offers more serious lyrical content, and gives fan a little more fast-rapping, which reminds me a little bit of Tech N9ne. However, ultimately, the song's beat is still quick enough that it makes for a song with a positive outlook. "'Can't Hold Us,' to me, is mood music," Lewis said. "And I think, for us, that have made so many songs that surround very concrete topics, 'Can't Hold Us' is that song that feels anthemic, it feels like a soccer game, it feels huge." It's no surprise the guys would want to go bigger and bolder with their newest video, their most ambitious effort to date.
Wielding their new star power and a heightened budget, thrift shoppers Macklemore & Ryan Lewis embark on a trip around the globe from New Zealand landscapes to the shores of the duo's native Seattle in the Ryan Lewis-directed grandiose clip, which matches the scope of the song and follows the dynamic duo on a journey across land, sea and air, tough out snowy landscapes and barren deserts to return home to their native Seattle. The clip culminates with Macklemore himself parachuting onto his hometown Seattle's legendary Space Needle, where he triumphantly raises an American flag bearing "The Heist" album title.
The frozen tundra, tropical jungle, camel-riding, dog sleds, planes, and pirate-ship party prove that really nothing can hold these rap du jour duo back! No matter how "Can't Hold Us" fares, they've made it to the top of the mountain already. It's a globe-spanning, wide-screen affair with their witty lyricism, the kind of video that looks like it cost a million dollars to make because it probably did. So consider their new video to be a victory parade - a big, flashy, over-the-top one, with stunts and spectacle to spare.

Anna Kendrick giving way to a flip cup in "Cups"

The "Pitch Perfect" craze isn’t over yet. Not only did much of the cast reunite to perform at Sunday night's MTV Movie Awards, but star Anna Kendrick has just released a new beautifully shot clip for her surprise hit single "Cups." The origins of this song lie in the 1937 Appalachian Folk recording "Miss Me When I'm Gone" by J. E. Mainer's Mountaineers. The new track from the "Pitch Perfect" soundtrack features the voice of Kendrick accompanied only by a plastic cup, which she uses as improvised percussion.
The song serves as her character Beca's brief audition for the Barden Bellas, an all-female a cappella group from Barden University. The song is just one minute seventeen seconds long, but isn't the shortest ever to grace the Billboard Hot 100. Back to February, the Universal Music remixed Kendrick's tumbler-tapping tune for pop radio, giving it a lush, acoustic sound to fill out her sweet, folky vocal. Perhaps the remixed tune and new music video, directed by "Pitch Perfect" helmer Jason Moore, will help the song reach a new peak.
Fans have enjoyed Kendrick's voice and spirited performance of the song with a little cup choreography that it was turned into a full fledged song with some instrumentals this time, and now we got a music video to go along with it. So get ready for more hand-clapping and more flipping! The 27-year-old actress and singer hinted a few weeks ago on Instagram that it was coming. But there's no stage and there are no members of the "Barton Bellas" to hint that "Pitch Perfect"'s viral hit was becoming legit this week. Kendrick gave fair warning. In her new song "Cups" and the accompanying music video, Kendrick's chorus includes "you're gonna miss me when I'm gone."
The video takes place in a restaurant kitchen where Kendrick can be seen cleaning her hands of flour in front of a fan and giving way to a flip cup scene of epic proportions - a whole new meaning to flip cup. As is the musical trend of late, there's some a capella cup stomping and clapping and some crisp vocals on Kendrick's end. The "Pitch Perfect" star plays a battered (literally!) cook at a small diner, where she spends her days rolling out biscuits and dreaming of a trip to somewhere tropical and sunny. As she skips through the restaurant, the video morphs into an all out extravaganza of rhythmic and progressively more intricate cup jams, which are choreographed impressively.

Jessie Ware loosen bun with "Imagine It Was Us"

After watching the great British soul-soul singer Jessie Ware's ultra-serene vibe in her "Devotion," "Sweet Talk," and "If You're Never Going To Move" videos, it's a real treat to see the 28-year-old songstress' loosen the bun and let her hair down literally and figuratively in the early '90s-tinged new clip for "Imagine It Was Us," one of two bonus songs from the just-released American edition "Gold Edition" of Ware's Mercury Prize–nominated debut album, "Devotion," eight months after the release of her debut LP in her native UK.
Ware's backstory is not particularly dramatic, but there is an aspect to it that speaks to the masses, primarily in her maintained attitude that she is quite ordinary. Ware was not someone looking for pop stardom her whole life, but, rather, took at stab at being a soccer reporter before taking jobs as a backup singer at the encouragement of her mother. Now, Ware is already a big star in her native UK, but she's still trying to crack into the charts stateside. "It's either going to work or it's not. In the meantime, I'm going to enjoy playing for people willing to vogue to my music," she said. "American audiences have been so fabulous and fun, the majority of them gay—men in front beating the rails, screaming, 'Guuuurl! Lawd have mercy!'"
"Imagine It Was Us," is an evocative, clubby jam. and it channels Michael Jackson in the most danceable track under her own name that she has released yet. The track definitely upholds the standard of quality Ware established with "Devotion," but it does differentiate itself from the prince-esque energy that made that album so great. The track pulses with a familiar and current pining for the dance floor in a manner she largely avoided on "Devotion" last year.
Ware gets to play disco queen in an '80s-style vogue club in Kate Moross-directed clip, which features a possible Madonna homage, and takes Ware out of the "If You're Never Going To Move" garden and into a darkened, sexy, disco ball-topped club where the costumes range from baroque to barely-there, and also probably the same club Madonna visited in "Deeper and Deeper." Dancing to a synth-lined, thumping track, Ware shakes her groove thing in a crop top and a long, lamorous ball gown as a hoard of scantily clad club revelers undulate next to her. Ware's not quite the diva Madonna is, but she does a beyond-satisfying job of transporting us back to the "Voguing" era. It's maybe the most visually slick thing we've yet seen from Ware, and she looks like she's having fun.

Calvin Harris to Ellie Goulding 'I Need Your Love'

Calvin Harris and Ellie Goulding hooked up and look like they're making more than just music as they couple up in their sexy new video for their new collaboration, "I Need Your Love," the seventh single from the 29-year-old Scottish producer and DJ's third studio album, "18 Months," and was also included as a bonus track on the 26-year-old English singer's sophomore studio album, "Halcyon." What's better than two powerhouse acts? Both literally and figuratively!
If Monday has you down in the dumps, there is an 80% chance the following video will change things entirely. The mid-tempo electro-dance track, is a club-banging dance jam that matches his infectious beats with Goulding's saccharine voice - a match made in dance music heaven. This dance floor classic was transformed into this french funk tune that is sure to take over your body. It has some nostalgic sounds intermixed with the future funk he's putting out there as 80's synths roll into some new vocoder vocals. If you can make it from the beginning to the chorus without feeling the need to dance and/or scream with joy you are a far more controlled person than myself.
Discussing her collaboration with Harris, Goulding told Pop Justice: "I think it's one of the first songs he's written with someone. He's written a lot of songs by himself. I mean, he's really, really clever. I've always been a fan of him and we used to have the same management, ages ago. He's done well for himself. We wrote that song in his flat about a year ago now and then we sort of scrapped it and came back to it and re-recorded it and there was a bit of confusion around that song for a bit."
The promo is so bright, sunny, commercial and mainstream - a whole steamy, summery affair for the pair, who play a couple that reunited with a lost camera that contains a compilation of footage of them together, journeying around the world in love with one another and recording themselves as they gallivant through the streets and bedrooms of Miami. They kiss, they frolicking around in bed before they smooch, cruising in a convertible and getting a tattoo, and then they go to the beach, and they make the most out of Miami's awesome nightlife.

Michael Bublé Knows How "To Love Somebody"

Michael Bublé triggers hearts with a new music video for his cover of the Bee Gees classic 1967 hit song, "To Love Somebody," which is the third single to be released from his upcoming eighth studio effort, "To Be Loved," will hit shelves April 22 in Canada and April 23 in the U.S. It's a solid cover of the song and the 37-year-old Canadian singer perfectly showcases just how mad he is for his new wifey Luisana Lopilato and her growing baby bump.
Written by brothers Barry Gibb and Robin Gibb of the legendary trio of the Bee Gees for their manager, Australian-born impresario and entertainment entrepreneur Robert Stigwood, who was an influential part of London's gay showbiz establishment. The moving soulful ballad "To Love Somebody" became one of the most popular Disco acts in the '60s, and has been covered numerous times by many other artists, most notable among them being the version by '80s adult contemporary singer Michael Bolton.

Part of being a pop culture blogger is respecting all different genres of music. Now most people are fascinated with the charm, crooner voice, and sophistication. It's so difficult to hold true to your style in today's industry, as more and more artists are crossing over to mainstream pop. With "To Love Somebody," Bublé shows you can have a fun video set, but remail classy and confident in the music released! The lyrics are heartfelt and passionate, so it only makes sense that Bublé kept the video simple and romantic. Bublé ditched the sequined duds of Motown for ‘60s mod in his new clip, the black-and-white theme is displayed, but not in the same monochrome way that other artists have done in their music videos.
The multi-Grammy winning crooner channels Robert Palmer with his own 7-piece all-female backup band, all of which are applies the contrasting shades to his smashing suit and tie ensemble, and outfitted in matching black and white geometric patterned mini-skirts and white patent go-go leather boots that are definitely meant for more than walking, performing a faithful rendition of the Barry and Robin Gibb ballad. For his soulful reinterpretation, Bublé, in a white suit jacket, plays the part of a James Brown-like frontman, grabbing the mic and pleading, "You don't know what it's like to love somebody the way I love you."

Bridgit Mendler get her mind off "Hurricane"

Bridgit Mendler gets in a little girl time with Naomi Scott in her brand-new video for her new track, "Hurricane," the second single from the former's debut album, "Hello My Name Is..." as she explained about the record. "It's kind of funky, jazzy, pop music with a little bit of R&B. Each song is pretty unique and has its own style and inspiration, so hopefully people will enjoy the diversity!" The 20-year-old actress/singer is poised to make the difficult transition from child star to bona fide pop singer.
The midtempo pop song, "Hurricane" exhibits elements of reggae fusion and R&B. Built on a beat, multi-tracked harmonies, the song's instrumentation includes slow-bouncing keyboard tones, and drums. Mendler's heavily rapping skills have been compared to Cher Lloyd, Lily Allen and Karmin. She tries to spit a few bars and throws her hand at rapping in this cool, laid-back track with some reggae influence, but is fast paced at times. The single is quite catchy and shows off the infectious and witty aspects of Mendler's skills. "Hurricane," which allows for many sing-along moments, uses the storm as a metaphor for her feelings towards a love interest.
Lyrically, the song gives ode to disaster love, reconciliation and perseverance in love. In interview for Coup de Main Magazine, Mendler commented about recording a rap song for the first time. She said: "I loved recording the rap in 'Hurricane.' That was pretty fun. It was very experimental for me, I haven't done much rapping before. It was not a deliberate decision... we had written the song and I had come in to record it and then the guys were like: "Why don't we just try rapping this part?" So I did and then it kind of just worked and we decided to keep it. So not intentional, but sometimes things just happen in the moment."
Mendler really shows off her vocal chops with a powerful and talented voice in the song, "I'm boarding up the windows, locking up my heart," but in the song's video, despite what teasers indicated, she refuses to wallow for long, follows the Disney star through a day and her BFF takes her out post-split to get her mind off her stormy union in London from waking up to a crazy evening dance party with her friends. As "Lemonade Mouth" star against a white background dancing it up with a New York City T-shirt and then takes a whirlwind tour of London, which starts at a museum and ends on the dance floor - not a bad way to cope up with a breakup, and it's up to her girlfriends to get her out of the storm's path for good.

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Nicki Minaj defends her brand for "Up In Flames"

After turning up the heat with her "High School" video, Nicki Minaj takes it down a notch, takes us back to the old mixtape days and defends her brand with another moody video for her latest track "Up in Flames," the opener and yet another cut off the endlessly long-slash-promotable "Pink Friday: Roman Reloaded - The Re-Up." And if there's any takeaway here, it's that Minaj is 110 percent serious about being the best rapper in the game, male or female. She already admitted to being the best in a recent interview, but now instead of telling us, she's showing us in her no-frills clip.
Minaj takes her standard boastful tone on the track, which is definitely more "mixtape" Nicki Minaj. As she recently spoke about the track to MTV News, saying, "Like 'Up in Flames,' if a dude was on a that song with me, everyone would've talked about it and they would [argue] 'who had the best verse' but when I put a song out by myself..." she trailed off, before adding that the male-dominated industry has something to do with it. "[It's] because men run the hip-hop game-let's be honest, they're the program directors, they wanna be able to rap stuff and they're not gonna recite a female [verse], they just feel funny and it is what it is."
The 30-year-old YMCMB rapper/American Idol judge made a big shift in tone for this Grizz Lee-directed video compared to some of her past. It's a less-than-subtle product placement shot of the rapper's perfume and cosmetics. The darkly themed clip for "Up In Flames" begins with a motorcycle powering down a road, while we jump cut to a hoodie-clad Minaj spends some serious screen-time mugging seriously in the dark with a companion, as she walking through a dark home with a pout on her face and a black hoodie on her back, before sitting down to play the piano with a bunch of lit candles and rapping in the studio while wearing sunglasses.
While Minaj also makes room for wheelie-poppin' motorcycles as the biker does all kinds of stunts on the pavement, Queen Barbie stunts lyrically in a lavish house. But don't get confused: Minaj's not trying to be fabulous here but she's keeping it minimal by putting her visceral flow on center stage, working in the studio, and writing down rhymes and checking her production. This very slow beat allows for Minaj's Queens accent bite at her competitors in full-throat. Instead, she seems defensive, rather than offensive, and the camera is out fishing for proof of her successes. Overall, this is all flames.

Josh Groban covers of Stevie Wonder's "I Believe (When I Fall In Love It Will Be Forever)"

Josh Groban has recently made a majestic music video for his cover of Stevie Wonder's "I Believe (When I Fall In Love It Will Be Forever)," which is the 12th and final closing track on his new sixth album, "All That Echoes," which debuted at No.1 on the Billboard 200 in February and the 32-year-old singer expanded his ambitious reach into richly rewarding new territory.
The song starts as a simple piano intro, then a verse in minor scales before the harmonized vocal chorus where the writer explains that he believes that his latest love will last forever. The expressive ballad, originally released in 1972 by the legendary Wonder, is an impassioned ode to love's possibilities. It is a decision Groban deliberately made to pay tribute to the iconic singer. Groban recently told Billboard that his inspiration for recording "I Believe," and his reasons for closing "All That Echoes" with the song have to do with Wonder's skill for truly universal songwriting. "Stevie Wonder writes these universally epic melodies that are a bit genre-less. He's genre-less. We just felt this was a great, positive, uplifting message to end a record that takes on every shade of love," Groban said in a recent interview.
The US heartthrob has added his own distinctive operatic sound to the Wonder classic and talks about the highs and lows of love: "Talking about the light and dark and trials and tribulations of love, no one writes about that better than Stevie Wonder. It's about how imperfect we can be, how many lessons we can learn. 'Even though I messed up in the past and have done things wrong, the next time love comes my way, I'm not going to let go.'"
Set at London's Alexandra Palace, the newly-made accompanying video pays homage to this awe-inspiring outro, and it starts out simply enough, with the pop-classical star singing all by himself in a large, ornate empty hall, all in black and white. Slowly, as he makes his way across the room, while the music gains momentum to build until he eventually finds himself in front of, first a band and then an orchestra-sized group of choir and musicians appear to help him out with the epic finale, just in time for the grand finale in full color.

Demi Lovato pumps us up with "Heart Attack"

Demi Lovato is all for risking her heart, losing her mind over love, and blackens at the thought of heartbreak in her new edgy music video for the new electropop track, "Heart Attack," the lead single from her upcoming fourth album, "Demi," is scheduled to be released on May 14. The paint-spattered arty arty clip captures the vulnerable songstress emerging from an ink bath before fresh-faced close-ups and a wind-blown performance in an illuminated hallway and it definitely shows the 20-year-old ultimate Disney princess' edgy side!
This celebration of life and love "Heart Attack," is a monster electropop song that employs cardiac arrest as a metaphor for lovesickness. "The title is just about falling in love and taking that risk," Lovato told MTV News she thinks she'd "have a heart attack" if she ever let her guard down. "But, she's terrified and, by 'she,' I mean me. I think everyone comes to a point where they feel very vulnerable in falling in love and that's what I'm talking about. It's about me being really scared to fall in love again after being rejected, after feeling so fragile and vulnerable all the time - thinking, I don't know if I can do this ever again!"
Lovato's had plenty to deal with over the course of her career, but it goes without saying that she's come out on top a million times over, what with her stint on "The X Factor," and a brand-new forthcoming new record, "Demi." "Heart Attack" to works of electronic dance music and Kelly Clarkson-esque wailing, while describing it was more of an "electronic feel" than her previous work. Despite everything that's going on in terms of instrumentation and production, Lovato's vocals are still at center stage, showcasing an impressive range of octaves and holding power. "Heart Attack" shows her incredibility, and musically and vocally, it shows just how strong she is.
Lovato is showing her dark and light sides in the Chris Applebaum-directed clip, which opens with Lovato gazing directly at us and prepares for battle and puts her defenses up before diving into a simple, yet hyper-stylized sequence, as she pits two Lovato against each other: a hardcore and an aggressive rocker versus an artistic, vulnerable young lady all at once. Maybe in a little time, the two can learn to live harmoniously. But, by all accounts, what the edgy look she adopted on set was even more impressive. By the end of the clip, the paint, like Lovato's emotions, has run all over the place, leaving the singer smudged but steadfast in her resolve to stay strong since she'll do anything to stop those mushy feelings from sinking in.

Paramore Rock the House in "Still Into You"

On the occasion of the same day release of their self-titled new fourth studio album, Paramore unveils a brand-new colorful, fun and carefree theme clip for their follow up ultra-sweet pop number, "Still Into You." The perky clip is a candy-colored slice of pure pop and a stark contrast to the punk-pop band's first dark "Now" video with frontwoman Hayley Williams rocking some bright colors in a sea of balloons. And the simply put, is unlike any the Tennessee band have ever made before.
Paramore have made it abundantly clear that their new album represents not only a seismic shift in sound, but a rather dramatic reinvention of the band itself and while this new Paramore may have some of their fans worried, especially given the bold, pop flourishes of new single "Still Into You." Well, Williams and Co. appear to be having an absolute blast. "Still Into You" sees them covering new sonic territory, implementing whoosing keyboards into the mix, while Williams singing about still being very much in love after being in a long relationship with Chad Gilbert.
A woman in love is a beautiful thing, or say Williams in love is a beautiful thing. Especially when being in love means waking up surrounded by cake, dancing with ballerinas, and playing in a sea of blue-and-white balloons. "Still Into You" is a blast of electro-leaning rock which Williams correctly hopes is "not a sappy love song," makes an irrepressibly catchy entry point. The clip perfectly matches the innocence of the song's upbeat vibe with vibrant colors shown throughout, is all about the free-wheeling sugar high head rush of the brightest days of being in love.
Paramore indulge their poppiest sound yet, breaking free of somber imagery in Isaac Rentz's slice of Paramore pop perfection. It follows the trio as they goof, gallivant and ride bikes around as they let loose in a empty mansion. There's dancing, bikes, ballerinas, balloons, cakes, and a whole lot of pastel-colored props among other fun things. The video is a carpet bombing of joyfully reckless abandon and a celebration of the best day ever. In short, it's blissed-out, fizzy fun. Rentz fills every frame with bright colors and fuzzy feelings. Love when Williams unleashes her 'sassy' side.

MS MR feel sense of hopelessness in "Hurricane"

MS MR is the sort of Internet-age pop project that begs to be blogged about, and we've always loved the way MS MR manage to evoke a sense of looming weirdness in their music through MS Lizzy Plapinger's saccharine-sweet vocals and MR Max Hershenow's haunted production, their songs tend to sound like they're seeing something you're not that's lurking just beneath the surface. The shadowy NYC duo knocked weird out of the park in new video for their breakout single, "Hurricane," that manages to pretty accurately capture this vibe – it's a David Lynchian tale of a small town full of strange bodies and it's a fantastic but glittery nightmare video.
While fellow New York indie pop duo Cults looks to the 60s for inspiration, upstarts MS MR have firmly planted themselves in the heart of 90s chick pop. MS MR describe themselves as "Tumblr Glitch Pop, Soul Fuzz, Electroshock," and so it is fitting that its music video is a mesmerizing, thought provoking collage of the coolest kids and pics on Tumblr. The combination of the melancholy, spaced-out sound and the flickering Tumblr images creates an almost sad and bittersweet image of the online world in which we live. "Welcome to the inner workings of my mind," the lyrics enhance the idea of the online self and the seductiveness of sites.
"Hurricane" is their best release yet. Lyrically, it feels beset by a sense of hopelessness, but sounds as though it should soundtrack a heroine turning triumphantly on a heel as the credits roll. There is something vintage about MS MR's new track "Hurricane." The uncomplicated beat and the sweet, clear female voice take you back to a simpler time, but in all its blogging, tweeting glory, it's also so 2012. It's a great track with a really sweet, catchy chorus, which still manages to create quite an intriguing and nostalgic feel. Take a bit of Lana del Ray, Florence and the Machine and Kavinsky, rewind to 1996 and you're getting there.
With "Hurricane," electro pop duo want to invite you to a world where your body and the surrounding world manifests your perversions and anxieties into surreal excretions, bodily corruptions, and occasionally a gym pal. Sound good? Candy Bar Creep Show is out now. The clip is everything weird and abstract and beautiful, in which Plapinger's got bright blue skin, Hershenow's neck exudes smoke, a kid works out next to a silver alien, a cheerleader melts like ice cream, someone's boyfriend's mouth exudes slime. It undeniably conjures up images that feel like an extension of their album art Candy Bar Creep Show. Simultaneously dark and twisty and rejuvenating, welcome to the inner workings of MS MR's mind.

Fall Out Boy tough out torture in "The Phoenix"

Fall Out Boy have officially risen from the ashes, they're ready with a new video for their comeback and new anthem, "The Phoenix," the opening track and a promotional single from their upcoming fifth studio album, "Save Rock and Roll," due out April 15 via Island Records and it's the pop punk band's first album since coming out of a four-year hiatus, a follow-up to 2008's "Folie à Deux." "The Phoenix" proves the Chicago boys are absolutely on fiiyahh.

It's fair to say their sound has changed dramatically over the years and the modern music tastes of the masses are trying to be pleased with the new record, "Save Rock & Roll." Calling an album that straight away makes me kind of not want to listen to it. A swell of symphonic strings opens the track cinematically before a gritty-voiced frontman Patrick Stump belts the album's first battle cry. The lyric, "I'll raise you like a phoenix," is a reference to the mythical bird of ancient times that burned itself to death on a pyre every 500 years and rose rejuvenated from the ashes. The phoenix was subsequently adopted as a symbol of resurrection in early Christianity.
When we last saw Fall Out Boy in "My Songs Know What You Did In the Dark (Light Em Up)" clip, they found themselves in a precarious position, kidnapped and blindfolded by nefarious villains. The new clip for "The Phoenix," serves as a prequel to last one, and it sheds light on the first video's story. The band explained a bit more on their website today: "it tells the tale of how we ended up blindfolded in the back of the black van in the #mskwyditd video. This is chapter 2 of 11(from album). Stay tuned for chapter 3, coming to a computer, tablet, or phone near you soon."
Directed by Donald/Zaeh, the rather graphic video details the abduction of each of the band members by a handful of female kidnappers one by one. Taking a page from Pulp Fiction, the rockers finds themselves in possession of a mysterious briefcase. They're all targeted by a secretive group of masked women assisted by a disarming kid on a bike, but Stump takes the brunt of the abuse, enduring extensive torture and getting his hands sliced clean off his wrists, and ends with Stump's bloody hand snapping at a dinner table. The clip  is reminiscent of an especially gory episode of "Criminal Minds."

Hanson brothers manage to "Get The Girl Back"

There will always be warm place in my heart for Hanson because Hanson is a fiercely talented, all-blonde band of three brothers - Taylor, Isaac and Zac, and each of them play their own instruments. The sibling trio, in their suit and tie, never looks more handsome as they do in their new comeback star-studded music video for their shouty-brassy new jam, "Get The Girl Back," which serves as the lead single off boys' upcoming ninth studio album, "Anthem" set to be released on June 18.
Tulsa pop/R&B trio made famous by "Mmmbop" have matured into a seriously good band; a fusion of pop, rock, and soul. The song "Get The Girl Back" itself, features the soulful pop-rock sound, is as playful as the video, a hooky throwback melding '60s girl group harmonies and brassy soul. Also these dudes are apparently as ageless as the track's influences. When asked how it came about that they featured the cowbell prominently in the new song, Taylor humorously sighed, "You start by making a musical decision and then you realize that you've created another for someone to stand in the crowd and go, 'More cowbell!'" Zac chimed in, "Let's be honest. We're just trying to get Will Ferrell to make a 'Funny Or Die' video."
Set in a club sporting the marquee "Hanson Sold Out Puppet Show," the video is a wildly inaccurate depiction of a Hanson show; it features the threesome are getting ready to perform in a loud, intimate crowded dive bar, dressing in their dapper suit and tie, and looking classy and serenading the audience as a backdrop for a couple love (or one-night-stand) stories.

While the boys rock out on stage, we meet Hanson's famous friends Kat Dennings("2 Broke Girls"), Nikki Reed("Twilight") and her Idle husband Paul McDonald, who are unfortunately right in the middle of a fight with their boyfriends, who just so happen to be another pair of famous dudes: Drew Seeley and Drake Bell, who bumbles his way around Dennings, with patrons and employees singing along to goad him into getting her back. The "almost couples" circle each other, until finally, just as you think all parties involved are gonna go home alone, the men manage to "Get The Girl Back," and both couples walk out hand-in-hand. It's actually pretty adorable, save for all the rude chatter while Hanson is singing.

Passenger sings missing a lost love in 'Let Her Go'

British folk act Passenger (Mike Rosenberg) has released a music video for his heart-breaking single, "Let Her Go," the second single from Passenger's debut album, "All The Little Lights," which was recorded in Sydney. If there's a theme to be drawn from the album, it's not just the usual stock-in-trade of the traveling troubadour - LOVE - but the love of life itself.
For Brighton, UK born and bred yet very much the adopted Australian son singer songwriter Rosenberg, being independent has proven to be the best road he could have taken since he started a band in 2003 at the age of 16. He trust in his music, his distinctive voice and his guitar to take him where it would. He took to the streets and discovered not only that the experience enormous fun, but it also proved empowering for the likeable musical troubadour. It's not quite a falsetto, but he's definitely not Leonard Cohen either; he sings in hushed tones around the upper range of his tenor. He is making a kind of folky Britpop that the general public needs little explanation for.
We've all heard that when you love someone, it's best to set them free, and Passenger makes the process a lot smoother with "Let Her Go." The track broaches the familiar feeling of ending a relationship, only to then wonder about what could have been. "It's about taking things for granted until they're gone, yet there's a little glimmer of hope," says Rosenberg. Lyrically, much of "Let Her Go" is basically a riff on the line featuring the title of the song "you only know you love her when you let her go," and is really a roundabout way of getting to the point; the song is fairly clearly about missing a lost love, one that he still dreams about.
The music video was directed and produced by the Australian video artist Dave Jensen that shows the stage being prepared for a Passenger concert, with footage of Passenger performance with his backing band and shots of the audience present reacting. Under the dim glow of twinkly string bulbs, Passenger entertains a totally lucky live audience with his accented, raspy alto emphasized with liberal acoustic guitar and a tear-evoking string section. Rosenberg has a beard and you can see his sad eyes when he looks at the camera in the video clip. Serious business!

Lindsey Stirlin plays seemingly in "Crystallize"

Violinist Lindsey Stirling seems to have no limits when it comes to experimenting with new genres on her acoustic fiddle. The 26-year-old YouTube sensation self-described "hip hop violinist," takes her first leap into dubstep music in an incredibly beautiful dubstep violin video performance for "Crystallize." With the help of cinematographer Devin Graham, Stirling filmed a video of herself in the Ice Castles of Silverthorne, Colorado, which only adds to the beauty of the song.
The track is taken from her self-titled debut album, which showcases her signature violin-electronic-dubstep style and it opening with "Crystallize," her most popular piece. As she explained "is a much deeper song: the crystallization of water is affected by its surroundings to create either beautiful patterns or meaningless masses. Similarly, I believe that through our thoughts, beliefs and the environments we create, we each possess the power to make a positive change within ourselves and others." The track is electrifying, beautifully haunting, and rich with emotion. It takes dubstep to a new level.
Utilized across time to express emotion within the artist and evoke emotion within the listener, songs infused with string instruments bring about a different aural experience than any other kind of song. It's not every day we come across an artist that successfully blends the world of instrumental music with electronic. Stirling has managed to intertwine her talent and merging her experience as a solo violin artist with the popular electronic genre of dubstep, providing a powerfully unique sound and experience for the listener.
Set inside and outside of a cool looking ice cave, the clip was a huge hit! The chosen location is no coincidence since "Crystallize" is named after scientific findings suggesting that human thoughts impact the molecular structure of water. Stirling plays seemingly without effort while dancing and wandering through a winter wonderland of illuminated ice formations, tunnels, and arches. The video is composed of a series of day and night shots that truly encompasses what it is clear Stirling set out to do with this track. It's beautifully edited, and compliments the song rather than takes away from it.

Matthew Koma tells playful tale of a "One Night"

After making a name for himself as a writer/producer, collaborating with the likes of Ryan Tedder, Carly Rae Jepsen, Zedd, and Swedish House Mafia's Sebastian Ingrosso, New York-bred singer-songwriter and jazzmaster Matthew Koma steps into the spotlight as a solo artist with the release of his Powerhouse first single, "One Night," a pretty sweet electronic-ish pop record, from his forthcoming debut LP, "Arcadia," due in US stores later this year. A day after, an accompanying video for song has premiere on Wednesday.
Produced by Twice As Nice, Tim Pagnotta and Koma himself, "One Night" is a fun and breezy pop number packed and it takes playful addictive sing-along melodies and combines with electric synths and a neon charged foot stomping chorus, that will have you singing along too, soberly or drunkenly. An inventive songwriter with a keen sense of melody, Koma has created a genre-bending sound by merging organic production with the left-of-center melodic finesse he's carefully honed through his work. It also displays his skill at writing lyrics that offer both raw emotionalism and a refined sense of imagery.
Koma, echoes the infectious stylings of bands like FUN., is an astute songwriting talent who is a savvy observer of life and has an incredible knack for melody. Whether it's a soaring vocal hook of an explosive dance tune or a touching pop ballad, Koma is a modern-day, genre-bending troubadour who knows exactly how to dose the emotional intensity in his music and deliver it with finesse and heartfelt gusto. "One Night" is a perfect example of Koma's expert songwriting savvy. With Interscope and Cherrytree Records by his side, Koma should have no problems breaking out with this sweet pop record.
Introduced by the whimsical sound of a xylophone, the song tells the playful tale of a one night stand gone sour with its sing-along harmonies, in-your-face beats, and breezy yet biting lyrics that show off Koma's clever storytelling. Directed by Cameron Duddy, the humorous clip for song sees Koma performing the song live for a crowd in what appears to be a small town fair, together with scenes of a group of teen girls and boys randomly getting into trouble with a sparkler and a gum bubble, which simply won't run their course.

Nicki Minaj & Lil Wayne get close in 'High School"

Young Money keeps the machine moving forward as Nicki Minaj and her mentor Lil Wayne take their working relationship to the next level in the steamy visuals for their collaborative track, "High School," the second single from Minaj's reissue of the former's sophomore with hilariously titled album, "Pink Friday: Roman Reloaded – The Re-Up." The artist/boss duo engage in a passionate as Wayne plays Minaj's love interest who helps her pull off a multimillion dollar heist.
"High School" is a hip hop and R&B song, and discusses adultery that would make even the most seasoned 50 Shades reader blush. It restores faith with three-and-half minutes of driven, witty filth. This Boi-1da and T-Minus produced cut finds Minaj trading bars with her Young Money boss, Wayne. We hear Minaj delivering sexual braggadocio lines, in which she lets the world know that "this ain't high school." Wayne then spits his typically playfully bawdy rhymes. The aggressive voice and flow is a winning factor on this song, Wayne did well and the catchy chorus helped round it out.
In her short career, Minaj's primarily relied on punchlines opposed to actual poetry. The sassy superstar switches it up by showcasing her storytelling capabilities on "High School." The neon-drenched clip, was directed by Benny Boom, and shot at a gorgeous swank mansion by the poolside in Los Angeles on March 11, does not actually take place in high school. There are no classrooms or teachers in sight. Instead, the mini-narrative is set on the sprawling compound of a drug lord, with Minaj cast in role of his ambiguous girlfriend.
The 30-year-old made-under raptress spends her days lounging by the pool in a skimpy neon green crisscross one-piece swimsuit and strolling through manicured gardens in a body-hugging canary yellow dress on a perfect California afternoon, until one day, when Wayne and his crew arrive to conduct a transaction with "El Jefe," and she decides it's time to exact some small manner of revenge by breaking into his safe, gets intimate with Wayne into the bed. The clip ends on a high fashion note as the pair make their great escape via helicopter under the cover of darkness.