MØ busting some moves in "Don't Wanna Dance"

On the eve of the release of her debut album, "No Mythologies To Follow," Denmark's songstress MØ, aka Karen Marie Ørsted, whose name means "maiden" or "virgin" in Danish, is easing the anticipation a little by releasing a badass video for infectious lead single, "Don't Wanna Dance," which is a misleading title and sees the 25-year-old Danish queen of seductively brash power-pop herself and busting some moves in a pretty sweet furry pink coat with a lots of girls in experimental outfits dancing in a junkyard in this one.
With her unique take on music that lies somewhere between experimental R&B and pop, "Don't Wanna Dance," is a jazzier, soulful turn from the edgy electropop we're used to hearing from her; here Danish electro-pop princess delightfully veers into what's almost Scandinavian Amy Winehouse territory. A neat, less synthy production allows "Don't Wanna Dance" to really showcase her crystal-clear vocals. The track is the most straightforward pop song the Danish singer has released so far. MØ trades in her dark synths for handclaps and it's a lot more light-hearted than what we're used to from her, bordering on saccharine, but it's catchy enough to balance that out.
Yes, "Don't Wanna Dance" gets a blissful summery dance floor make over. Yet rather like a sexual experience with someone you weren't quite sure about, yet they end up knowing exactly what they're doing, all you can do is give yourself up and lose yourself to the moment. "It's the sunny side of being young and confused," MØ says of the song, which she wrote one morning after going out with her hometown friends and then dreaming of the chorus. "I grew up in the suburbs, in a small town, and I wanted [the music video] to have that trashy vibe-while you know, being fabulous at the same time."
Just like the track itself, the video gives off a vibe of sweetness mixed with an undertone of total sass, but features a lot more dancing than the title would have you believe. Set predominantly in the curious setting of a car scrap junkyard, the functioning industrial machinery in the background provides the perfect juxtaposition to MØ and her girl gang jumping around in a 'girls dancing in their bedroom at a sleepover' type of way. The kicked-up pop track is turned on its head with MØ lip-syncing in a cloudy junkyard and um, dancing. Definitely dancing. Check it out below and  pick up some groovy new dance moves just in time for the weekend.

Ellie Goulding lights up in "Goodness Gracious"

Following a successful 2013, Ellie Goulding kick starts the new year with a new colorful video for the Nate Ruess-co-penned tune, "Goodness Gracious," a tropical-flavored highlight from "Halcyon Days," the hefty reissue of her sophomore album, 2012's "Halcyon." Any lingering doubts that Goulding is not ultra-cool should be squashed with the arrival of the "Goodness Gracious" video, which shows the U.K. songstress dancing in light-up shoes, partying with futuristic-looking pals and even skateboarding with ease.
This electro, tropically-infused tune finds Goulding singing about attempting to break free from a relationship but unable to sever the ties. She penned the song with Fun.'s frontman Nate Ruess. Goulding told Coup De Main magazine about their collaboration: "In Australia we first met and we hung out loads, and it turned out we were big fans of each other's writing," she said. "Sadly, we didn't get to write the song in the same room which was a shame, but he wrote his bit and I wrote my bit and I sent it back to him to see what he thought and thank goodness he liked it, because that would have been embarrassing if he didn't."
Directed by Kinga Burza, the video finds Goulding lighting up the night with the same pop pyrotechnics that highlighted the "Burn" music video. This time, however, everything is illuminated as the "Burn" singer and her gang of exceptionally attractive pals spend a rowdy, all-neon night on the town, bouncing from a private dance party to a psychic's den, finally landing on an admittedly cliché yet totally necessary moment of joyriding bikes down on an empty street. It's as if Goulding downed some psychotropic Starbursts with a bunch of friends and filmed the whole weekend.
The 27-year-old British electro pop goddess serves up so much fun in her new holiday-themed visuals, as Goulding explained that because the song's lyrics are dark, she wanted the images to be "bright and bold," so obviously, it was shot in Los Angeles, capital of all of the above. The video is both of those things, big time, and Goulding's glittery and glowing looks command attention. It is a day-glo dream. So forget the freezing temperatures outside for a second, and check out her cheery wardrobe and peep all the sparkly colorful goodness for yourself, below!

Panic! At The Disco get sexy in "Girls/Girls/Boys"

Panic! at the Disco get racy and sexy in their new clip in homage to D'Angelo for synth-poppy hit, "Girls/Girls/Boys," the third single from Las Vegas emo band's just-released new fourth studio album, "Too Weird to Live, Too Rare to Die!." The D'Angelo's legendary "Untitled (How Does it Feel?)" video is one of the most iconic music visuals of a generation, a clip, premiered in 2000, where it received widespread attention for its risqué shots of D'Angelo's nude, muscular body that redefined and eventually derailed the career of a soul prodigy.
"Girls/Girls/Boys," is a bizarre song about Panic! at the Disco ectomorphic frontman Brendon Urie coming between a bisexual girl and her girlfriend, at one point spouting It Gets Better platitudes ("Love is not a choice") and others both luring the subject ("Push another girl aside and just give in") and acknowledging her struggle ("You gotta save your reputation / They're close to finding out about your girlfriend"). Urie's electro-punk tune is diametrically opposed to D'Angelo's slow-jam croon and he certainly makes a committed go of re-creating it.
There is a surface-level display here of understanding the often complicated nature of queer relationships, but in a statement about the "Girls/Girls/Boys" video Urie comes off more like a fetishist than anything. Describing the video's very real homage to D'Angelo's "Untitled," Urie unveiled the inspiration behind "Girls/Girls/Boys" to Alternative Press: "'Girls/Girls/Boys' is such a racy song that it immediately made me think of one of the sexiest videos of all time, which also happens to be one of my favorites. Doing an homage to D'Angelo's classic 'Untitled (How Does It Feel)' video seemed like a perfect fit."
Directed by DJay Brawner, Panic! at the Disco's version is nearly an exact replica and stayed true to the classic D'Angelo video shot-for-shot as Urie kicks things off with a Miley Cyrus-in-"Wrecking Ball" close-up, standing on a pedestal in an all-black room, wearing just his birthday suit, the camera lingering down his ripped torso until the exact point when it must go back up - minus the undeniable frisson that made the original D'Angelo video so monumental. Urie smirks and gazes suggestively into the camera while softly singing the guitar-heavy pop song.

Avicii takes on the country in "Wake Me Up"

The disk jockey Tim Bergling, aka Avicii partners with Ralph Lauren for an All-American adventure in the new clip in support of his latest single, "Wake Me Up" the lead single off Swedish DJ and producer's upcoming folk-inspired debut studio album, "#TRUE," arrive in September 17. The track is a different take on the DJ's usual pounding electronic tunes, featuring a soulful vocal performance from Aloe Blacc and guitar riffs from Incubus' Mike Einziger. The two lost souls find themselves through music in "Wake Me Up" video which mixes the then and the now, is like the song itself, which features folky, lived-in vocals and of-the-minute beatsmithing.
Pick-up trucks and horses might not be the first images that come to mind when you think of Avicii. The 23-year-old Swedish progressive house superstar is more associated with massive outdoor festival stages than a country road. Avicii made the choice with "Wake Me Up" to step out of his EDM comfort zone and produce something noticeably different from his other cuts, as the DJ describing it a "complete change in style," features bluegrass-inspired guitar riffs coupled with Avicii's trademark sweeping house music chords to dive headfirst into uptempo folk.

"Wake Me Up" has scored the fastest selling single of 2013 so far, is a collaboration track with glam-pop artist Adam Lambert and musician Nile Rodgers. The disco song, which he has previously played at various music festivals in recent weeks, is a feel-good tune that showcases the "American Idol" alum's powerful vocals. As chart-friendly EDM continues to reach the furthest corners of the globe, staying ahead of the pack can prove a tricky task, especially when more and more acts arrive on the scene turning out mixes with identikit build-ups, tired lyrics and uninspired breakdowns that newcomers to the arena lap up with excitement.
The arguably Oz-esque narrative-driven video, directed by renowned fashion and celebrity photographer Mark Seliger, is an escapist fantasy in multiple ways. It feature two sisters, a little girl and a young lady who ventures out and finds a way out of a boring, hostile past into a party-laden big city and they celebrate finding their rightful place, they join a rave party similar to Avicii's massive outdoor festival performances. As she arrives on a horse, she comes into hordes of other soul-searching folks bearing the same Avicii logo as hers and her younger sibling, whom the big sister goes back for and fetches, having found the place where they belong.

M.I.A. goes goddess & ready to "Bring the Noize"

The always talented, interesting and energetic, M.I.A. returns and continues to purvey her rebellious sound with astonishing comeback visual for her 'insane' new song "Bring The Noize," which pays tribute to Public Enemy's 1987 classic of the same name, and is the first official single lifted from the British rapper's upcoming fourth studio album, "Matangi," which in Hindu is a goddess, of music and word. It's also M.I.A.'s real name - Mathangi "Maya" Arulpragasam. A fertile combo with sensational, radical, halting, genre-bending and political songwriting, spiritual maxims, pop cultural context.
It's been over a year since she taught us that “bad girls do it well” and now the 37-year-old singer is ready to bring the noise. Born a Sri Lankan and spending most of her life in England, M.I.A. always compliments and correlates those two cultures. Perhaps it's her status as both a visual and musical artist that makes her so intriguing, or her unabashed, strong and sometimes controversial political line. M.I.A. moves to her own rhythm and doesn't allow herself to be highly sexualised as others do. She has now decided to delve deeper into electronic music with "Bring The Noize," which demonstrates the diversity of her artistic ability as she effortlessly spits verses over a hard hitting bass line throughout the entire song.
M.I.A. tends to release the sort of songs you might hear if you added a drum beat to the fast-forwarding of a Pixar movie. Her musical style has always been a kind of manic clusterfuck, and she while she’s been incredibly successful she’s also been accused of releasing full albums – full artistic statements – with no actual songs. "Bring The Noise" changes all that. The breakthrough single is a drum-heavy record with chopped up vocals and a whole lot of noise. It keeps with M.I.A.'s brutal and heavy beat sound. Slightly tribal, the samples range from club noise to fairly average hip-hop synth strikes, and evokes feelings of a conscious anthem reminiscent of Public Enemy's classic track with a beat you can actually dance to.
The clip is a colorful, intriguing, and as always, energetic number that finds M.I.A. showing off her both soft and wild sides. Armed with her pink hair the video's expose in underground London falls in line with her poignant messages. As M.I.A. passing through barbed wire to reach a dark underground club where She crowning herself a goddess in a temple of dance, bejeweled around rows of mostly male worshipers, who have removed their shoes and dressed all in white. Here  M.I.A. introduces her goddess-among-men in style, as an icon of worship. It's at least an intriguing watch, playing with cultural unfamiliarity within familiar fashion and art.

Hot Chip Dancing With Monks In "Night & Day"

The U.K. electro-poppers Hot Chip have unveiled the video for their new single, "Night and Day," the first single from the electronic band's forthcoming fifth LP, "In Our Heads," due on June 11th via DominoRecords. The Indie dance outfit's new clip is an assortment of weird goings-on, including a line-up of choreographed monks taking part in two weirdly complementary spaceships battle.
The trippy, funk-on-overdrive track is described in publicity materials as "weird-ass disco," which then adds: "The song is driven by a menacing yet supremely danceable bassline, while Alexis's digitally-messed up vocals float beautifully above it all like the ghost of Marvin Gaye." The tune was released on June 11th in the UK and the following day in the US. The London synth lovers show up in their own music video as well.
Let's take the video first. Like "Night and Day" itself, the spacey clip is fantastically ambitious, technically precise, mostly entertaining, and yet still a bit frustrating in its arch impenetrability. Directed by British comedy hero Peter Serafinowicz and features guest appearances from British actor Terence Stamp, beatboxing comic Reggie Watts and supermodel Lara Stone, the clip boasts an abomination of monks worshipping an egg-shaped deity through the medium of synchronized dance.
Flight of the Navigator-style spaceships to match the song's wobbly synths, urgent pulse, and limber hook. As with the song's standout "Zapp not Zappa" moment, however, the video ultimately feels slightly like it's talking past us, although villain-guy Stamp lip-syncing to the band's words "Do I look like a rapper?" is a fun touch, and the whole thing is definitely worth watching if you're at all a fan. The inexplicable video have grabbed the attention of hyper-literate Internet commenters, but one stunner is not to be overlooked.

Drake And Rihanna "Take Care" Of Each Other

Duet partners Drake and Rihanna teamed up again and finally unveiled his long-in-the-works video for "Take Care," the first single and title track from 25-year-old Canadian rapper's sophomore album, which has a far more complicated history than the usual pop hit. Drake explained how his childhood favorite Winnie the Pooh was a key inspiration while conceptualizing "Take Care."
Over the past three years, Drake has risen from mixtape maestro to genuine superstar; the kind of enigmatic talent who can proudly embrace his "emotional" side one minute, then release the "Practice" video the next. And in doing so, he has carved out a rather unique niche in the world of hip-hop and R&B, and we're not just talking about his sweaters. Often duplicated, but never replicated, there truly is no one making music quite like him. And yet, despite all that, Drake has never made a truly great music video, or at least one that fits neatly into his maudlin, monochromatic world. Until now this one.
Rather than being a warning to be particularly careful, "take care" is more of a declaration of goodwill meaning "look after yourself." The phrase became current around 1970. Samples Jamie xx's remix of Gil Scott-Heron's version of "I'll Take Care of You," the track finds him linking up with Rihanna who sings the original words of the song while Drake raps, and the cross-genre couple promising to "take care" of each other after being wounded by their lovers. Rihanna's lifts the depressive mood which is present on the majority of Drake's songs.
Filled with animal imagery, natural landscapes and achingly tense slow-motion effects, the the Yoann Lemoine-directed clip is as beautifully elegant as the song, especially with regard to the chemistry between its two stars. The black and white with occasional color washes video has a very intimate, humbling and delicate vibe with minimal visuals which allows us to focus on them. It comes off as an artistic therapy session where Drake reveals his inner feelings all while Rihanna listens and reacts to his subtle emotions. Simplicity at its best.

M.I.A. Evokes Gulf Cool In "Bad Girls" Video

Featured alongside Nicki Minaj on Madonna's "Give Me All Your Luvin'," which you may watched the trio Sunday at the Super Bowl halftime show, M.I.A., aka Maya Arulpragasam, has also premiered the new music video via Noisey for her next single "Bad Girls," a remix of the "Vicki Leekx" track, and will be the first single from the Sri Lankan-British artist's upcoming fourth studio album, expected to be released this summer.
The midtempo worldbeat rap ballad, "Bad Girls" incorporates Middle Eastern and Western musical influences and instrumentation. M.I.A. stepped up to the role of hustleress in the song. The 36-year-old rapper brings fast cars and "bad girls" to the Moroccan dessert for the accompanying new video, which features Arabic street racers, ghost riders, desert bonfires, and women in blinged-out burkas touting semi-automatics. The flashy video lives up to song's provocative lyrics, which include the classic, "Live fast, die young, bad girls do it well."
Shot in Ouarzazate, Morocco, home to one of the world's largest film studios over four days and behind by director Romain Gavras. Set to M.I.A.'s Punjabi-laced chill-banger, "Bad Girls" is a lady gangsta fantasy but one that plays off very real ingredients from life in the Middle East. There's crumbled architecture, sustained over years of attack; smouldering oil tankards; young men in kaffiyeh, standing around dangerously bored; mysterious women covered from head to toe, with only their kohl-lined eyes flashing out.
"It was dope to have so many people from so many different backgrounds speaking so many different languages come together to create something that we believed in," says M.I.A. about the video. The video is meant to evoke a Persian Gulf landscape – dusty, baked, semi-apocalpytic and in the hands of M.I.A. and Gavras, utterly hard-core. It's an interesting take on culture, blending lyrics about having sex in cars with Americanized imagery of Moroccan culture, but it's definitely not for the easily offended. The action-packed video is without a doubt a visual stampede of insane stunts and strange dance moves.

Editors Debut Video For "You Don't Know Love"

British indie rock /post-punk revival band Editors have assembled a cast of internationally renowned filmmakers to unleash the video for their second single "You Don't Know Love" features on their last year's number one-selling third album "In This Light and On This Evening," which unveiled the band's new direction from their guitar-sound of previous releases and sent them down a more electronic, less immediate route. "You Don't Know Love," described by The Guardian as 'an unsettling ode to decaying affection' and 'bleakly haunting' is a glacial ballad illustrative of the album's innovative reinvention of the band's sound.
"You Don't Know Love" is a relatively short burst of over the top dramatic techno romance blockbuster soundtrack. The video is bloody crazy and actually rather brave, unique and worth watching. Arni & Kinski-directed new video for new track was shot in Krakow in Poland before Christmas, sees the emotional turmoil of a disintegrating relationship expressed through the stunning choreography. And the first-time use of hair as a deadly weapon. . It was shot by one of the world's most celebrated cinematographers: Christopher Doyle, who was using a Red camera for quite possibly the first time. The war-dancing is by Damien Jalet & Alexandra Gilbert, who are definitely not in the mood for love.
Formed in 2003, Editors became one of the leading bands in the post-punk revival that swept America and England during the early 21st century. Editors' own variation of dark indie guitar rock draws on influences from both older and contemporary bands, such as Echo & the Bunnymen, Joy Division, Interpol and U2. The band draw their musical style particularly from the latter two bands' debut albums Murmur and Asleep in the Back. While often compared to Joy Division and Echo and the Bunnymen by the media, the band have indicated that those bands are too old to have a major impact on their musical style.
There have been many changes to life in Editors since "An End Has A Start" broke the band worldwide and established the then Birmingham based four piece as one of the UK's most prominent bands of recent times. Whilst all four members were keen to make a far more electronic record, they were determined to 'give the machines a human feel' in the words of lead singer Tom Smith. The Birmingham-based post-punk revival band externalizes some massive relationship tension with a dark living room dance duet.