Overall, this is a pretty well-done music video (although, the lack of love shown to the editor kinda bugs me). However, I think the color takes away from the idea that this is supposed to be in a Western setting. Other than that, I love the concept of the video, and I think it’s a good visual representation of the song. Not that anyone asked for my opinion.
I Ship It | a short film by Yulin Kuang
After a bad breakup, Zoe Smallman decides to take down her ex-boyfriend in a wizard rock battle of the bands with help from her best friend, Charlie.
Written & Directed by Yulin Kuang
Featuring original Wizard Rock songs by Kirstyn Hippe
Watch the Playlist: I Ship It film & bonus content
It’s here! Join us for a livestream Q&A at 12pm PT/3pm ET today! And feel free to leave us questions in the #i ship it film tag on Tumblr and the #ishipitfilm tag on Twitter! We’d love to hear your thoughts. <3
I miss this band a lot during the fall.
The very delightful Chicago band Kittyhawk (fronted by lovely Ms. Kate Grube who worked with the costume department on our feature) released a new video for “Welcome Home”. They were nice enough to have Hunter and I play cult leaders in the video and the whole thing turned out great! Check it out and buy their album, “Hello, Again” that came out today!
Read more about the video release at the AV Club
Yeah, I wouldn’t mind a re-recording of this entire album with Spencer Sotelo doing the vocals. No offense to Sonny, haha.
After three albums as Jack’s Mannequin, Andrew McMahon needed a change of scenery. Enter Andrew McMahon in the Wilderness. For the one-time Something Corporate frontman’s latest collection of earnest, sun-kissed piano-pop, he’s found a new label, new management, and a new moniker.
I’ve followed Andrew McMahon on his musical journey for many years, and since the release of “The Glass Passenger,” I couldn’t help but feel like there was some element in his music that was missing. I enjoyed everything he has put out over these last ten years or so (sometimes even forcing myself to, and once even rearranging the tracklisting in order to do so), but nothing has ever lived up to the power, mystique, and magic that was “Everything in Transit.” I hate being that guy, but, to me, that was Andrew McMahon at his best.
I asked myself what it was that made me feel that way, and I couldn’t think of anything beyond the circumstances behind what created the record (it’s my favorite record about a break-up to date), nor could I think of a reason beyond how eerily prophetic it was (both in the name Jack’s Mannequin, as well as lyrically). Musically, EIT was leaps and bounds beyond anything McMahon did with Something Corporate. Hell, it was leaps and bounds beyond anything I was listening to in August of 2005 (by the way, I bought 5 CDs the day the record was released, EIT is the only one I continue to spin on a regular basis). But after listening to McMahon’s latest endeavor, I have only now realized (via a comment on the good ol’ AP.net message boards) what it is that’s been missing from his music, and it has nothing to do with McMahon himself. In fact, it has everything to do with the fact that Tommy Lee drummed on EIT. Since then, the drums have seriously been lacking on every Jack’s record, and now, Andrew McMahon in the Wilderness’ self-titled debut release.
I want so much for this record to finally put Andrew McMahon on the map. I thought there was promise in “After the Fire,” the final track on his last release, which brought with it a hook I could easily picture hearing in a car commercial, but here, I wish he had just gone all in on the pop music train. Through one listen, I can’t positively say that any track might hit (then again, who can predict such things) with as wide as an audience as I want him to have, but I do believe this album will open him up to an entirely new audience.
Some BTS of #TheMixFilm.
Lil Dicky is killing it right now! And you know we’ve all had these conversations and arguments, haha.