Category Archives: Pop


The best gift of 2017 so far arrived a few weeks ago when Katy Perry treated us to her first new song since her huge 2013 album Prism. KP didn’t let us down with ‘Chained To The Rhythm’ – a glorious pop number with surprisingly deep undercurrents about the state of society. The video, released last week, explores these themes further in a way only Katy knows how; with outlandish outfits and candyfloss.

Keep scrolling to see our favourite moments from the video.

Katy Perry - Chained To The Rhythm

Source: Vevo

The first shot we see when the video begins is of a super futuristic looking theme park, almost like something we used to build on Rollercoaster Tycoon back in the day! Looks fun, right? Well there’s a lot more to it than meets the eye…

Katy Perry - Chained To The Rhythm

Source: Vevo

Welcome to Oblivia, the theme park of the future! Or is it of the now? That’s for you to decide. Katy Perry looks her usual stunning-self dressed all in white with pink hair, whilst everyone around her looks bland and samey…except for that guy wearing some sort of diving helmet. You okay hun?!

Katy Perry - Chained To The Rhythm

Source: Vevo

We love how the video seems to focus on the way society is obsessed with social media and everyone just wants to do the exact same thing to fit in. Suddenly, ‘Chained To The Rhythm’ takes on a whole new meaning!

Katy Perry - Chained To The Rhythm

Source: Vevo

Katy Perry - Chained To The Rhythm

Source: Vevo

Katy made no secret of the fact she was a Hilary Clinton supporter during the last US election and we can’t help feeling that a few of the rides’ names are a (not so) subtle dig at a certain Mr Trump and the way things seems to be heading. Burn!

Katy Perry - Chained To The Rhythm

Source: Vevo

As Katy rides a great big roller coaster called Love Me, complete with emojis and love hearts (another reference to the world’s obsession with social media and needing verification), we can’t help but laugh at some of the faces she pulls! We can’t decide whether she’s scared of the ride, the future of our society or this guy’s outrageous shirt. Maybe all three.

Katy Perry - Chained To The Rhythm

Source: Vevo

This ride looks seriously terrifying though, it literally flies right off the track! We’d rather stick with the dodgems, thanks very much.

Katy Perry - Chained To The Rhythm

Source: Vevo

These theme park visitors may look happy but we’re pretty sure they’re dead inside, all walking and dancing in time with each other. It’s just not right! If you look closely enough, you’ll also spot the ‘1984’ George Orwell reference on the timer! Very clever.

Katy Perry - Chained To The Rhythm

Source: Vevo

After all those crazy rides, a nice relaxing trip to the cinema is just what Katy needs! However it’s not quite as fun as she hoped when she realises everyone in there seems to be hypnotised by the screen except her. Will this dystopian nightmare ever end? If only there was someone around to save her…

Katy Perry - Chained To The Rhythm

Source: Vevo

Oh look! Skip Marley‘s here to save the day on a giant TV screen, hooray! His verse in the song sounds even more poignant with the accompanying video, with lyrics such as “Up In Your High Place, Liars…They Stumbling And Fumbling And We’re About To Riot, They Woke Up The Lions.” It’s almost enough to make you want to quit social media and go live in the woods (please don’t unfollow us though…)

Katy Perry - Chained To The Rhythm

Source: Vevo

Reasons to love Katy Perry: she can present a powerful and important message with her music whilst still looking absolutely flawless. Hashtag brows on point. All hail Queen Katy!



Takes photos, writes reviews!

Ahead of a jam-packed, and sell out weekend of Elrow madness in the capital, I had a chat with the one and only Rowgelia – Elrow’s long-standing mascot.

After years of supporting Elrow on the road, taking them to the Bronx, Rio, Bollywood and mystical lands far beyond, she has finally been given the opportunity to showcase her very own theme; ‘From Lost to the River’.

“I Was A Bit Fed Up Of All These Humans Wanting To Keep The Parties For Themselves. So After A Lot Of Sweet Talking, Blackmail, Kidnapping And Death Threats, I Managed To Get My Own Party For MY Friends And Family! Jokes Aside, My Humans Have Worked Really Hard To Make Us Happy With This Event, So I Hope The Rest Of The Humans That Are Invited Will Enjoy It Too… Otherwise, We Will Have To Start Using The Slaughter Human House Again!”

From Lost to the River, will debut right here, this coming Sunday 12th March at Village Underground, in London. Transforming Village Underground into a Toontown Farmyard, Elrow mascot Rowgelia will take centre Elrow Town stage. Together with her rowdy bunch of farm friends, and twin sister Rowberta, they will unleash an explosion of farmyard fun for the all-day event.

Speaking about life on the farm Rowgelia gives us a glimpse into what to expect when she’s let loose.

“After Parties At The Farm Are The Best Ones!! Don’t Get Me Wrong, I Love Myself A Bit Of Elrow, But The sesh Back At The Barn Is Pure Gold!! All The Animals Are Ready For Me As Soon As I’m Back. There Is No Party Like A Rowgelia Party, At Least That’s What They Chant On My Return!”

Partygoers will be invited into Rowgelia’s barn where her mischievous cartoon companions, having escaped from the pages of their comic books, will be rampaging around the venue with giant sticks of dynamite, golden eggs and their own unique range of farm products hidden amidst the hay.

© Photography by Khris Cowley for Here & Now (

Rowgelia isn’t worried about any of her farm friends stealing her limelight, she knows she’s the glue that holds it all together!

“The Problem With My Friends From The Farm is That They Are Really Party Animals, So I Cannot Trust Them Much In Real Life Social Interactions With Humans Just Yet. Some Of Them Come Out To Play When We Do MY Party, From Lost To The River, But Not Everyone Is So Up For It, So Some Of Them Do Chicken Out. Sad But True.”

In true Elrow style, the lineup is being kept a closely guarded secret, with some of clubland’s hottest acts set to spin a driving dancefloor soundtrack of house and techno with a healthy dose of country music thrown into the mix in honour of Rowgelia.

After all of these crazy parties on the road I ask Rowgelia what her favourite Elrow moments are, and clearly, some of those moments will never get old!

“Every Party With The Little Humans Is A Lot Of Fun. I Am Really Happy They Take Me On Tour With Them And I Feel So Loved By Everyone. They All Want To Take Pictures With Me, The Little Eager Beavers! My Favourite Moment Of Every Party Is When They Put Me On An Inflatable Raft, And Send Me Over People’s Heads! I Absolutely Love That Feeling!”

© Photography by Khris Cowley for Here & Now (

If you missed out on tickets for Elrow’s weekend of festivities, don’t despair. This week saw Elrow announce it’s biggest ever outdoor event, which will take place in an east end greenfield on Saturday 19th August, which you can read all about here; Elrow Town

Pre-registration for tickets is now open; Register Your Interest


Tornados generally have a knack of leaving behind a trail of roof tiles and displaced livestock, but so far Australian producer Tornado Wallace has left behind one of the most varied back catalogues on labels like Beats in Space, LateNightTales, ESP Institute, Second Circle and, just weeks ago, delivered his brilliant first full length LP on Running Back. Originally from Melbourne and part of the Animals Dancing crew (makers of the best music T-shirts in the Southern Hemisphere, two years ago he made the move to Berlin.

Seeming to master any style he chooses, from chugging acid electro, stomping Aussie Bush techno or funk that could have been stolen straight from Prince’s vaults, we set out to find out how he does it. You can also sample some photos of his studio as you read the in-depth interview.

Tornado Wallace – Lonely Planet LP is out now on Running Back and available from Juno. Catch TW at Farr Festival 2017 (13th-15th July).


Hi Tornado, thanks for the photo of your studio. Let’s get straight to business – how do you do it? Talk us through what we can see.

Well this is my studio in Berlin that I share with Luca Lozano. I moved two years ago from Melbourne where I still have a lot of my favourite bits of gear, but I wanted to start fresh as I was finding myself too dependent on some certain sounds. So I have a motley crew of hardware that all has a particular role in doing the things that I want them to. Everything is wired up to the patch bay which I can then send through mixer channels and then into the RME UFX Fireface where I can have the various sounds coming through split channels in Ableton. All midi-synths are running through a MOTU midi-interface and I use the Sync-Gen to sync the drum boxes with the Ableton clock.

Where is your studio located? Do you go for the home studio, making tracks in your dressing gown over breakfast, or do you have your own separate space where you escape to create?

It’s in a separate space behind a bar about a five minute walk from where I live. There are some other studios in there too.

Have you made any special non-musical touches to make it feel like a productive workspace?

Yes my girlfriend and I found a cool fake plant store at this massive Vietnamese warehouse complex in Lichtenberg, so I bought up on the stuff to help create a vibe. There’s very little sunlight and Lucas and I travel a lot so we can’t be trusted to rear real plants. 


A lot of your music has an abundance of space, something not going short in Australia. How do you go about that? Is it samples, field recordings, or all original copyright T Wallace magic? 

It all comes down to the mix really. Making sure everything has some space to breathe. Sometimes it takes some discipline to keep something you think is really cool very low in the mix for the sake of the track’s sound. But yeah I’m not one to shy away from any audio resource available to me be it phone recordings, samples, EQing, reverbs/delays etc.

What’s your approach to working with samples? Do you build tracks around them, or add them as a garnish to an existing idea?

Yeah I’ll generally find a little something interesting in a record store or online – a little percussion loop or a pad or effect – and switch on the machines and jam over a four bar loop until there’s something worth expanding on. I’m a massive fan of sampling and usually find, ironically, that it’s the best way to make something sound unique. 

Speaking of samples, you were behind the sensational Aussie bush anthem ‘Kookaburra’. What’s the story behind that one?

I was working on a track with Tom Moore (the other half of Coober Pedy University Band) and it was really taking a lot of work and not really gelling together even though we’d spent hours and hours on it. We decided that it might be fun to try make a ‘tool’ version of the track, so we took out the best bits which was some afro percussion loops, a didgeridoo sample that we lifted off a German made Australian library record that I bought in Amsterdam, and then added a big 909 kick drum underneath it all. It was sounding OK but it was missing something so we thought we’d try add an Australian bird sound. Of course we went straight for the most famous Australian bird sound – the Kookaburra – which we ripped from a Youtube video. The idea was to put it low in the mix and have it be a subtle little addition, but when we dropped it into the project, Ableton had automatically tried to quantize it and it sat very up front in the mix. It was never the plan but it sounded great/stupid/ridiculous so we moved it around a bit and it turned out to be the cherry on the cake. From starting the new project to finishing it took about 2-3 hours.


You made the jump from Australia to Berlin in the last few years. Have the new surroundings affected the type of music you want to make?  

Only in a way that going through a bit of change like moving to the other side of the world has affected me in terms of personal development and maturity. But I don’t think that the specific surroundings in Berlin have had much of an influence on the sound of my music very much.

RA held an interesting round table about ‘Process vs inspiration’ – where does your inspiration come from in the studio? Do you have a process that you follow? And how do you go about balancing the two? 

I go through phases where I’m really influenced by something and for a few days or a week or something I’ll get really caught up in an idea and experiment with that sound and usually wind up with a few new tracks. But that doesn’t happen too often and usually I follow a loose process like the one I mentioned earlier about finding a weird sample and building ideas around it. It’s a nice way to create something unique when the inspiration just isn’t making itself too aware.

What was your original set up when you first made tracks? Were you a laptop only wizard, or did you go straight for hardware?

I was 15 and I used my school laptop with a demo copy of Fruityloops and Cool Edit Pro I got in a Computer Music magazine. I could move around pretty well on those programs but it wasn’t until years later when I added a bit of hardware that I started making music that I felt was good enough to be heard by other people.


What was the first serious piece of kit you bought?

I had bought guitars and drumkits and various percussion instruments and effects pedals throughout my teens but the first electronic piece of kit I bought was a microkorg.

Do you fetishise that old sound, or put your faith in new technology? What’s your current split like between software and hardware?

I like technology that has its limits. The problem with some newer technology is that there’s so much you can do with one machine, but it doesn’t necessarily do any one thing particularly well. Developers have realised this along the way though, which is why you now see the main manufacturers remaking older gear that have their limitations and their strengths. I have various bits and bobs in the studio that can do their one thing particularly well, whether it’s the Cruise for it’s strings, the Kurzweil K2000R for it’s digital pads/leads or the Chroma Polaris for analogue SFX and basslines. I use some software for effects but I don’t use VSTs, purely because I like generating sounds with a more tactile approach rather than a belief one sounds better than the other.

What kit do you think is a modern classic? 

I don’t have too many new bits in my studio nor have I played around with many new pieces so I don’t think I can think of one.

Are you always seeking to experiment and develop your studio? If money were no object what would you add?

Yes definitely, there’s always more money that can be spent, mostly on more cables and cv/midi converters and things that make the process a bit smoother rather than anything particularly interesting. But I’m pretty happy with the way things are at the moment. If money were no object I’d probably just get some things I still have in Australia sent over like my Prophet 5 or my Arp Odyssey.


What impact have some recent changes made in your approach and sounds?

The patchbay is a new addition. And for the first time I can easily patch things through an FX chain without having to muck around for ages. So it’ll be nice to incorporate the Filterbank, Space Echo and DPX into the workflow more easily.

You must have a most treasured bit of equipment. If you had to keep just one piece, what would it be?

Maybe the Matrix 1000 or the 808. They’ve been with me the longest and I’ve used them the most so there’s that sentimentality value as well as both being badass.

The new album is a masterpiece, something not just inside the club walls. A first album is a big step for any artist, but it must be especially hard when it deviates from a club-centric sound you’ve made your name on. What were your sonic intentions with this album and what else were you listening to during its inception?

The LP is a product of several years of working on music for both listening at home and dancing to in a club. Along the way some of the tracks that I didn’t want to previously release started making sense together and the idea of making an album formed and then it was just a matter of finishing it with a couple of extra tracks and some mixing down. So along the way I was listening to lots of different music but I think the most influential on how it ended up were artists that I’ve been listening to over many years, like Dire Straits, Wally Badarou, Daft Punk, Sade, Boards Of Canada.


How involved was Gerd and Running Back in the creative direction of the album?

Gerd came in late in the picture actually. I had finished the album before I approached him. We had talked about doing things in the past but it hadn’t worked out so this time we were both keen and we had pretty much informally agreed to do the LP before he had listened to the tracks.

The guest vocal with Sui Zhen is a real highlight. Do you take a different approach working with a singer? And do you have more plans to go down that route?

I’ve never really worked with a singer before but I had an idea for this track to be like a wavey, 80s synth pop track, and to really bring that home I felt a vocal was needed. Sui Zhen is a very talented vocalist and can pretty much twist her voice to how it’s needed and for Today we felt like a Nina Hagen/Laurie Anderson sound would be cool. She got the vibe and we had a chat about how it should go with the track and she came up with a really cool lyrical direction and that was that. She recorded it with quite a few variations and I arranged it in the studio. I don’t think it would normally be that cool/easy working with someone, so I’m not in a hurry to try it again (unless is was Sui Zhen again). That and generally I have a habit of listening to mostly instrumental music.

Are you considering performing the album live? What would you bring from the studio to the live set up?

No I’ve got no plans to do a live show any time soon. I’ve heard too many horror stories from other artists. But I also love DJing and that makes more sense for me relating to an audience at the moment.

Beyond the album, what other plans are afoot for the rest of 2017?

Maybe a remix single from the album, and an EP for Animals Dancing, hopefully something from Coober Pedy University Band. Otherwise I’m going to keep the focus on DJing and traveling around with that for the year.


If you are reading this article and are not aware of Trainspotting or its sequel T2, you must be too caught up in a world of jotting down trains into a WHSmith’s notepad, while enjoying a weak orange drink.

Danny Boyles’ 1996 classic has become a historical document for those caught up in all things Brit-pop and 90’s nostalgia, but it wasn’t just the motion picture that made such a splash. The accompanying soundtrack became that year’s ‘must have’ album in the same way that the Pulp Fiction OST had been the year before. For a movie set in the 80’s, the soundtrack features the big players (except Oasis and Suede) of the era; Blur, Pulp, and Leftfield as well as some musical legends like Lou Reed and Iggy Pop. But how does it compare to the follow-up?


Iggy Pop- ‘Lust For Life.’

It is impossible to remember a time when the sound of that drum intro and the bassline didn’t evoke the image of ‘Renton’ and ‘Spud’ sprinting through the streets of Edinburgh. The perfect choice of song and a big thank you to David Bowie for making it happen. As a fan of Boyle’s first feature ‘Shallow Grave,’ Bowie recommended his friends Reed and Mr. Pop to strike a deal to have their music used for the film. Without his help, it could have been Kula Shaker’s ‘Hey Dude’ that opened the movie. The sequel ends with a Prodigy remix of the track, that sadly isn’t on the compilation.

Result: Draw – both films used the same song.


Leftfield – ‘A Final Hit’

The mid to late 90’s was rich with forwarding thinking electronic artists were aching to break away from ‘rave’ and acid-house. Massive Attack, Tricky and obviously Leftfield would be found in the CD collections for those people who knew where to be on a Saturday night. ‘A Final Hit’ may not have been their best track, but it works on the screen.

Young Fathers – ‘Rain Or Shine’

The former Mercury Prize winners keep gaining acclaim for being one of the great British hip-hop acts. Hailing from Edinburgh and just stinking of cool – no wonder they feature on T2’s soundtrack twice, ‘Get Up’ and ‘Rain Or Shine’ help push the movie’s love of nostalgia into the now.

Result: Young Fathers


Sleeper- ‘Atomic’

Was the use of the Blondie cover by a hip Brit-pop group a cynical move to stay in touch with the zeitgeist or just a cheaper option? As Sleeper’s version is so faithful to the original, it seems silly to not just use the Blondie track. It does soundtrack one of the most beloved scenes in the film when ‘Renton’ meets ‘Diane.’

Blondie – ‘Dreaming’

‘Dreaming’ explodes with Clem Burke’s  opening drum rolls quickly followed by one of Chris Stein’s legendary guitar riffs and we already have one of the Blondie’s greatest anthems even before Debbie Harry’s sublime vocals take off; this would make any film come alive.

Result: Blondie ‘Dreaming’


Blur – ‘Sing’

It was a brave move for the makers to have one of Britain’s biggest bands and choose an album track from their least fashionable album ‘Leisure.’  The first time you hear those piano chords, you have to wonder how you had never heard of this track before. ‘Sing’s’ success after the soundtrack gave it a new lease of life and found it’s way back into Blur’s live set as recently as 2012.

Wolf Alice – ‘Silk’

Being included in the soundtrack left the band was over the moon, and ‘Silk’ is T2’s answer to the atmospheric ‘Sing.’ One of the best tracks on their debut album ‘My Love Is Cool’ is given a welcome platform in one of the final scenes of T2.

Result: Blur – ‘Sing’


Lou Reed – ‘Perfect Day’

Trainspotting achieved what Duran Duran failed to so the year before, and introduced a brand new audience to one of Lou Reed’s finest songs. The rest is history and with the BBC releasing a star-studded version for charity and karaoke bars across the country will seldom have an evening without it.

The Clash – ‘(White Man) In Hammersmith Palais’

Not many soundtracks can do wrong when including a Clash track, ‘(White Man)’ may not be their most known song and hopefully, it will be discovered by a whole new audience.

Results: Lou Reed – Perfect Day


It was level heading after five rounds, and both are brilliant compilations, but the original has a perfect mix of contemporary artists as well as relighting the fires to some forgotten classics and doesn’t include Queen’s ‘Radio Ga Ga.’


Singer/songwriter Michael Baker is back with a brand new single ‘Revolving Doors’ and here at HTF we are delighted to be premiering the accompanying video.

‘Revolving Doors’  has been lifted from Michael‘s debut album Dust & Bone, which was released last year. The video is a touching, one-shot creation from award-winning director Gary Roberts, which is based on the concept of someone’s life flashing before their eyes in their final moments.

Actress Kara Lily Hayworth‘s solo performance is truly captivating as she takes the viewer on a journey; watching her life unfold as she is sat in the cinema. Experiencing a whole range of emotions, she soon realises she’s in limbo when she witnesses the man she loves hold her hand as she passes away. This moving story was inspired by Leonard Cohen’s quote “You Go Your Way, I’ll Go Your Way Too”, which can be seen at the start of the video.  With the passing of Cohen since the video was shot back in October, it feels extremely poignant and reinforces the video’s theme of love and how it always seems to return, even in the darkest situations.

Michael will be playing a headline show at The Finsbury in London on 21st March, where he will be performing ‘Revolving Doors’ and many more of his heartfelt songs from Dust & Bone.


It’s Friday night and we’ve been invited down to Electric in Brixton, to witness German Duo Tube & Berger, open up for tropical house favourite Bakermat.

Bakermat is essentially accessible deep house music for the masses, and what Tube & Berger manage to provide, (without alienating the otherwise commercial audience), is a more underground deep house and techno set, which goes down an absolute storm.

Ahead of their eagerly anticipated second album, ‘We Are All Stars’ which drops sometime in May, Tube & Berger include a live element to their show with vocal PA, Richard Judge. His soulful voice and energetic enthusiasm pump up the fans and connect Tube & Berger to the crowd on a whole other level. Richard sings along to their collaborative singles; ‘Ruckas’, ‘Set Free’ and ‘Disarray’. This makes it fairly clear to see who is in fact here to see Tube & Berger, with a number of sing-a-longs now erupting from the audience.

Source: Gemma Bell

Tube & Berger may not be the headlining act tonight, but their rare London appearance has brought out of the woodwork their own mega fans, as Kitball t-shirts and banners appear waving in the front row!

Amongst their own productions which span across deep house, and a darker more progressive house, they dropped classic tune Mylo’s; ‘Drop the Pressure’, Green Velvet, Pork & Fitch’s; ‘Sheeple’ and this years’ Ibiza dance anthem, Raffa FL; ‘How We Do’.

Also making a debut appearance was the new single, also named ‘We Are All Stars’. It was one of the more radio friendly tracks of their set, but in this setting, with this kind of audience, it was an absolute highlight! Signed to label Embassy One, which is also home to Booka Shade, Röyksopp, Robyn, Moby and Björk. You can hear it here first; We Are All Stars

I’m told there will be more live elements added to their already stellar performance, so keep an eye on their Facebook page for the latest news and tour dates; Tube & Berger Facebook

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Are these the absolute best music videos of all time?

It’s been a long time since video killed the radio star, so all things considered, it’s kind of amazing that the music-video form is still thriving in the age of YouTube. Now, with Beyoncé’s Lemonade and other blockbuster album-length videos on the rise, we might just be on the verge of a new music-video golden age. It’s a great time to be a fan, and it’s never been easier to cue up videos for your favorite party songs, workout songs or dance songs from the comfort of your computer or phone (and there’s nothing to stop you from hitting that replay button over and over). For our money, these videos comprise the pinnacle of the art form—the best music videos out there—so far at least.

Best music videos of all time


Michael Jackson, Thriller

The “Thriller” video was iconic from the moment it was released in December, 1983, and remains profoundly influential and supremely audacious, even to contemporary eyes. Burnishing its pedigree with loving allusions to seminal horror films—Romero’s Night of the Living Dead, Hitchcock’s Vertigo and director John Landis’s own then-recent hit An American Werewolf in London, Jackson’s 13-minute musical chiller opus melds creepy authenticity with campy fun to an astonishingly successful degree. How successful? A behind-the-scenes home-video release of it sold over 9 million copies, and it’s currently the only music video preserved in the Library of Congress National Film Registry. Only a pop star of MJ’s cunning and talent could have pulled it off.—Bryan Kerwin


Peter Gabriel, Sledgehammer

Directed by Stephen R. Johnson and featuring the stop-motion and Claymation talents of Aardman Animations’ Nick Park (who went on to create the famous Wallace and Gromit and Shaun the Sheep programs), this playful vid required Gabriel to lie under a sheet of glass for 16 hours. Considering it went on to collect a record nine awards at the 1987 MTV Music Video Awards and still stands as one of the most-played videos in the station’s history, we’d say it was time well spent.—Kristen Zwicker


Nine Inch Nails, Closer

Director Mark Romanek, who’s been behind some of the most memorable videos of the last 25 years (Fiona Apple’s “Criminal” and Jay-Z’s “99 Problems,” among others), set a high bar for haunting imagery with this 1994 video. By planting Trent Reznor into a David Lynch steampunk S&M dungeon and letting things get weirder from there, Romanek gave birth to indelible creations including: a paralytic, levitating Reznor; a crucified monkey; a machine-powered heart blowing smoke to the song’s beat. Much of this didn’t sit well with the censors—multiple frames were replaced with “scene missing” title cards to soften the video for regular broadcast.—Bryan Kerwin


Radiohead, Karma Police

Radiohead re-teamed with director Jonathan Glazer—who also helmed their clip for “Street Spirit (Fade Out)”—for this masterpiece of moody abstraction from 1997’s OK Computer. Its shadowy back-road setting recalls scenes from the Coen brothers’ Blood Simple and Fargo, and like those films, striking violence lies just around the corner from congeniality. The on-screen tension belies Thom Yorke’s slyly humorous lyrics and diplomatic piano chords until the fiery denouement. This is what you get when you mess with us.—Bryan Kerwin


White Stripes, Hardest Button to Button

Director Michel Gondry’s idea for this video, which features Jack and Meg White performing the third single from their 2003 album Elephant as their instruments continually multiply, was initially met with resistance from Mr. White. Thankfully, it was a rare instance where the ever adaptable Gondry refused to compromise, and this mesmerizing masterpiece was born. For those keeping track, it contains 32 identical Ludwig drum kits, 32 amplifiers, 16 microphone stands and one Beck cameo.—Kristen Zwicker


Nirvana, Smells Like Teen Spirit

“Smells Like Teen Spirit” was the championship single from 1991’s massive Nevermind, and its video helped cement Nirvana as The Only Band That Mattered. Director Samuel Bayer captured the group’s gritty, grimy aesthetic by setting the action at a punk pep rally, complete with tatted cheerleaders sporting the anarchy symbol. Kurt Cobain’s irrepressible artistry shines through too—unhappy with Bayer’s initial cut, he re-edited the video to include the unforgettable final close-up of his shaky Joker-smile, and it was on his orders that filming ended with a full-on mosh pit.—Bryan Kerwin


Beastie Boys, Sabotage

Nineteen-ninety-four becomes 1974 in the Beasties’ kitschy parody of Hawaii 5-0–style cop dramas. An early outing for Spike Jonze, who would go on to direct acclaimed feature-length fare like Adaptation and Her, the video features MCA, Ad-Rock and Mike D donning primo stashes, corralling bad guys, and eating donuts. The song’s frenetic grunge-rap energy pairs harmoniously with the kooky visuals, a combination that helped propel its parent album, Ill Communication, to triple platinum status.—Bryan Kerwin


Madonna, Like a Prayer

Burning crosses, stigmata, saintly seduction—it’s not hard to see why this 1989 video caused a bit of a stir. Directed by Mary Lambert, who directed both Pet Sematary films, it was condemned by the Vatican, banned from Italian television and prompted Pepsi to abandon its $5 million ad campaign featuring the song. A striking examination of race and religion, the video may not have been great for peddling soda, but it definitely helped Madonna on her way to becoming a pop deity.—Kristen Zwicker


Missy Elliott, The Rain (Supa Dupa Fly)

For each one of us, there are images that will forever be burned in our memories, and, for folks of a certain age, one of them is Missy Elliott in that blow-up trash-bag jumpsuit. Directed by hip-hop music video titan Hype Williams and featuring cameos from SWV, Lil’ Kim, Total, Da Brat and Puff Daddy, the video was the first in a long line of superb Missy visuals, and a proclamation that the rising Virginia native was a force to be reckoned with.—Kristen Zwicker


Björk, Big Time Sensuality

When Björk decided to work with director Stéphane Sednaoui on the video for her 1993 single, “Big Time Sensuality,” there wasn’t much of a budget to speak of. In fact, Sednaoui claims they almost abandoned doing a video at all, until he had a flash of inspiration during a cab ride. Fast forward to Björk, singing only the way Björk can, on the back of a flatbed truck moving through Manhattan. The song was her first to chart in the U.S., the video fell into heavy rotation on MTV and an international star was born.—Kristen Zwicker

The 004: Their Story

We Are Still One is a story about a group of friends, who are passionate about creating music together and having fun. The documentary gives a never before seen look into how the band started and how they have evolved over the years.

As a band, The 004 has been active for over a decade, covering popular songs and recently performing their own material.

Their latest release is “Song For Me”, which can be seen below.

Injecting 2017 with a dose of much-needed positive attitude, the Dutch pop group charms with their heart warming new song “Song For Me”. Produced by K3Y5HIFT3R (from Holland) and co-written by Brian (from Argentina), the song conveys a message of positivity and self-acceptance.

The 004 have been active for over a decade, perfecting known songs with their own unique interpretations and giving music lovers around the world innovative original musical pieces. Joining original members Kelly, Mike and Janet is new girl Gita, an accomplished dancer and professional singer.

The group will continue their worldwide conquest during 2017, with the release of a career-encompassing documentary and many more exciting things that will be announced very soon!

Producer: K3Y5HIFT3R (Holland)
Co-songwriter: Brian (Argentina)
Editor: Alex Lodge (UK)
Graphic Designer: Fernanda (Brazil)
Photographers: Jeroen & Stefan (Holland)
Recensionist: Simon (Finland) & Norm (UK)