Wyld hits the right notes on sweet summertime glow of “Child”

I’ve been freelancing as a music writer for a few years now, and I still consider one of my greatest gold medal achievements to be the connections I’ve made to New York City’s area music scene. I’m sure I’m said this in one form or another before in my writings, but here it is again. Some of the biggest city crossovers of mine have coincided within very significant parts of my life that really defined the person I’ve become and the art I’ve created since. There’s a beautifully-lit, urban imagery to it all I deeply appreciate whenever I get the chance to look back on it all. Plenty of nostalgic tones, sunrises, and late-night hero orders in that paint box.

I found that same fond imagery coming to mind watching the music video for my latest connection on that New York City map, Brooklyn-area singer-songwriter Elizabeth Wyld. Look no further than the opening shot of the iconic city skyline in “Child”, or the lyrics’ initial mentions of Christopher Street and signature yellow cabs. Though looking beyond that, I’d say the greatest ode to this city in both song and video lies in it’s romantic heart.

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“Child” is a sweetly shiny, folk-pop foot tapper that relays one of the oldest and most relatable feelings in humanity: navigating/risking the vulnerabilities of falling in love. It can happen as fast as a shock to the system and hit twice as hard, especially in that first moment’s “spark” that feels like your insides are doing caffeinated backflips. I equate the feeling to… jumping into an ice cold pool instead of dipping a toe in on a hot summer day. But as anxiety-provoking as the thought of such a crash is, when that feeling’s right… you just sense it in your bones and welcome it with a smile. And I felt this whole course of thought spill out just giving this song a few listens… again, good memories brought to mind by the presence of good art.

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Plus, the music video for this song fills in the illustrations of the lyrics beautifully. It does so in a way that reminds me of the useful narrative power music videos still have in even in a post-MTV and TRL era. I think that’s mostly due to the performances of Wyld and Dana DePirri, who exude the type of natural, bright-eyed chemistry that makes the “thrift store cardigan” romance of this song authentically movie-sweet. Not in the plastic, Hollywood way that feels more substance than stereotype. Rather, in the type of way that goes to show the sort of stylized gloss I think we all put on that initial relationship ember that makes our brain chemistry’s electricity crackle. It’s an endorphin rush, and this video really puts it in the moment.

To do that so naturally, puts a smile on my face every time. Go drive with the windows down, the sunshine on, and take in this song’s ambiance.

You can check out Elizabeth’s music at her website http://elizabethwyld.com/

 

 

 

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Video Exclusive: unwrapping Kohli Calhoun’s “Zebedee”

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Over the last several years that I’ve spent writing about music, I can easily say that I’ve had good fortune come my way with the artists that I’ve had the pleasure of getting to know and work alongside.

But this collaboration is something entirely new. What I have for you today has never before seen on OTBEOTB. In fact, it hasn’t been seen at all because this post is introducing the exclusive music video premiere for Brooklyn-area artist Kohli Calhoun and her song “Zebedee”.

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If you’ve read some of my prior content here you’ll certainly already know who Calhoun is, but if you don’t here’s a quick synopsis. As I said before, Calhoun is based out of Brooklyn, and after an tumultuous beginning to her musical career she “rose from the ashes” so to speak in order to create her first full length LP Take Me Away. The record came out earlier this year, and has already received favorable press from the likes of the Huffington Post as well as Calhoun’s recent selection as a Featured Artist on the website Noisetrade.

But that’s not why ya called. Today I want to discuss the aforementioned “Zebedee”, a melodic haunt of a track from Calhoun’s Take Me Away that seems like an apt choice for the music video treatment. And that expectation is well-placed as the video explores the song’s themes of love, loss, betrayal, and sadness through the eyes of a beautifully illustrated world of animation that gracefully illuminates the differences. I could easily speculate about the meaning behind many of the small details of note in this video, but that I leave to you as a fellow member of the audience to interpret for yourselves.

Suffice it to say, the visuals on this video are a stunningly creative complement between Calhoun and her collaborators to one of the strongest tracks on Take Me Away. Its work like this that makes the world of music videos a relevant place again, and we’re truly the better with the level of depth this visual context can provide.

So on that note, let me step aside and have you enjoy the music video for “Zebedee”, brought to you exclusively by On The Back Edge of the Beat.

Babcock Brings “5A” To Our Floor For New Video Debut

Earlier this year, I had the pleasure of collaborating with smooth-folk troubadour Stephen Babcock in order to discuss his current LP Said & Done. Babcock was a new face to me at the time, and I found myself immediately charmed by his music.

For one thing, it’s often easily straightforward without being stereotypically indie or coffeehouse. No offense to the Bon Iver’s or St Vincent’s of the world, but it’s often pleasant to just go back to the bare essentials of music’s bedrock beginnings. The era when folk music felt like an innocence rapidly turning cloudy, or… ya know, when a man named Dylan came along and changed the game forever.

Babcock has that same stripped down charm to his sound, as well as a sense for songwriting that combines to make for a hard punch in a velvet glove. It was a prominent force on Said & Done, and also makes a fresh appearance for Babcock’s latest song “5A”.

Shot in Central Park for A Remote Session, “5A” finds Babcock directly in his element. With just a guitar slung across his shoulder and a song on his sleeve, he strolls casually singing about a relationship gone on a downward bender.

He opines, “She was an hourglass, she could spare no time” with a gentle reserve some might spare for conversation eased into the picture frame of a moment. In a sense the cinematography of the video fits that conversational tone as well, painting Babcock as the everyman’s example of making the difficult look easy.

It’s a reminder of a simple adage that seems relatively forgotten nowadays: less is more. A reminder that yeah maybe you can’t get a bank of synthesizers or a quartet of strings, but you can still take out a guitar and make it sing.

Check out the video for “5A” up above, and be sure to go find Stephen on social media if you like/want to hear more of what you see! And be sure not to miss the line in this song “is it bad that I miss her mother more than I miss her?”.

It might not jump out at first, but it’s a deceptive killer.

 

 

 

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