Vampire Weekend Paint Palm Springs Black And White In Relaxing ‘This Life’ Video

Take a journey with Vampire Weekend through California in their latest video for “This Life” from their new album Father of the Bride. The funky song gets a peaceful, almost retro visual that is smile-inducing, innocent fun that sits well with you after it goes off. This is how you want summer to be: filled with smiles, hair blowing in the wind, but maybe not with a black-and-white filter.

“This Life” makes for a beautiful video. It takes place in Palm Springs, California and follows Ezra Koenig, Danielle Haim (featured on the track as well), and producer Ariel Rechtshaid as they go on a road trip through grassy plains and windmill plants. The wide open skies and sunlight bathed in black and white is a thrilling sight. For those who can’t understand what the song is saying, the lyrics are placed at the bottom of the screen, adding to the retro feel of the video. You can practically feel a breeze streaming through your screen as you watch. At the end, there’s a Passover dinner with a large number of collaborators such as Jonah Hill and Mark Ronson.

Father of the Bride came out earlier this month. In addition to “This Life,” it features “Sunflower,” “Harmony Hall,” and “Unbearably White.” In March, the band released a Jonah Hill-directed visual for “Sunflower” that followed Ezra Koenig and the Internet’s Steve Lacy through New York’s Upper West Side.

Take a look at the relaxing video for “This Life” up above.

Tyler, The Creator Burns Down A Talk Show Stage In ‘Earfquake’ Video

Tyler, the Creator has released an initially adorable, then later haunting video for “Earfquake” from his new album Igor that came out earlier today (May 17). Playboi Carti doesn’t appear in the video; it’s only Tyler and a surprising actress: Tracee Ellis Ross. The two play off each other’s awkwardness for a hilarious visual that might make you hesitant to step near a piano in the near future.

The best thing about Tyler is that his smallest movements and words are hilarious, even when he’s not trying to be. In “Earfquake,” Ross is a talk show host who introduces Tyler (his name is bleeped out when he speaks) to the quiet audience of a (presumably) late-night show. After an awkward and equally hilarious back-and-forth where Tyler simply responds “yes” when asked what exactly he does, he breaks into an intentionally awkward, microphone-swinging performance of the song from his new album on a silver stage.

What initially starts as an adorable, straight-forward performance eventually morphs into something crazier. When Tyler adds a piano to his performance halfway through, it erupts into a fire and Tyler gets some of his face burned off. Stepping in to clean up the rapidly growing fire is a nameless fireman that is, surprise, Tyler. Instead of tending to the flames, however, he decides to serenade the camera before walking off. The fire still roars behind him.

Igor is Tyler’s first album in two years. With its release came a specific set of instructions that the rapper tweeted out yesterday. One of them was to not listen to it with expectations. “This is not Bastard. This is not Goblin. This is not Wolf. This is not Cherry Bomb. This is not Flower Boy. This is Igor,” he wrote. The LP features the previously teased songs, “Igor’s Theme,” “Whatsgood,” “A Boy Is a Gun,” and “New Magic Wand.”

Take a look at the hilarious video up above.

Carly Rae Jepsen Smashes Cakes With Her Clones In ‘Too Much’ Video

Carly Rae Jepsen‘s fourth studio album Dedicated is out today (May 17) and to christen its release, she’s dropped the video for “Too Much.” The track itself came out on May 9 as a promotional single, but the artistic capabilities in its two-word title were too much to leave it visual-less. So here we have a video with too many Jepsens. If, we’re assuming that there is such a thing has having too many of her in the first place.

“Too Much” is about doing things in excess. Partying too much, thinking too much, drinking too much. To explain her knack for overdoing things, she decides to have you, the viewer, looking at more than one version of her. Too many, actually. Too much. The video finds Jepsen performing a synchronized dance routine with an army of clones (really, women dressed similar to her and not expensive, elaborate CGI work) that mimic her every move. The effect is like watching a line of ants marching to the hill. It’s endlessly entertaining and takes up the crux of the video’s runtime. That is until they start smashing a delicious looking cake into each other’s faces, leaving buttercream icing to smear all over the table, their skin, and the floor. We feel sorry for the poor soul who had to clean that up.

Dedicated features the previously released singles, “Party for One,” “Now That I Found You,” “No Drug Like Me,” and “Julien.” On May 23, Jepsen will be heading out on The Dedicated Tour in support of the new LP that kicks off in Stockholm, Sweden and wraps up on August 11 in Los Angeles.

Take a look at the dizzying video for “Too Much” up above.

Lil Nas X And Billy Ray Cyrus Gallop To The Future In ‘Old Town Road’ Video

Lil Nas X‘s video for “Old Town Road” is finally here and its sheer hilarity and large scale have made it worth the wait. The star-studded five-minute visual isn’t just the accompaniment to the viral song, it’s a film within itself, a masterpiece of cowboy western and modern proportions. It’s a magical, tongue-in-cheek look at the world of broncobusters and tumbleweeds and how it differs from the concrete jungle of today.

From the get-go, you already know you’re going to be in for a wild scene. Comedians Chris Rock and HaHa Davis are Lil Nas X’s horse-riding, bank-robbing compadres who ride with him everywhere he goes. After linking up with Billy Ray Cyrus and getting shot at by enemies, Lil Nas X flees into a magical tunnel that transports him from the world of 1889 to the world of 2019. He races Vince Staples‘ car with his horse and meets up with a modern incarnation of Cyrus at a bingo hall where Diplo and Rico Nasty happen to be.

The “Old Town Road” video comes a few weeks after he performed the song for the first time on television on Showtime’s Desus & Mero. In April, he performed the song for the first time live with Billy Ray Cyrus at the Stagecoach festival. Just recently, CupcakKe made her own x-rated version of the tune, aptly named “Old Town Hoe.”

Watch the cinematic video for “Old Town Road” up above.

Madonna And Quavo Sing About An Unpromised Existence On ‘Future’

Madonna continues to drip feed the world new material from her forthcoming LP Madame X. The latest is the reggae-influenced tune, “Future,” with Quavo. It’s a surprising, ecstatic new record that has a smooth, tropical style to soundtrack trips to the beach this summer.

“Future” is for sunny weather and cool beach winds. The collaboration is surprisingly funky and Madonna’s soft voice carries its breeze to the seas and beyond. Quavo brings the heat of the sun with autotuned vocals that set the scene. The song’s lyrics carry a sad message of fleeting existence and the realization that nothing is permanent, especially the future. But the way that the music encases these words is soothing and crafts yet another song for the summer from the legendary pop songstress.

Last week, Madonna released her breezy collaboration with Swae Lee, “Crave.” So far, Madame X has two other powerful singles to help you prepare for its June 15 release date: the Maluma-assisted “Medellín” and the empowerment anthem “I Rise.”

Listen to “Future’ up above.

Bop Shop: Songs From Kaiit, Koda Kumi, Black Midi, And More

This Austin octet is as experimental as they’re essential and as cerebral as they’re eccentric. Their dreamy synth pop begs you to dance along, but in a free-flowing, movement-based, lose-yourself-in-the-beat-type of way — with less choreography and more theatricality. In fact, the group takes their physical communication so seriously that four of the eight members are solely dancers.

Their lucid movements couple with their contemplative lyrics perfectly in the visual for “Into You.” The track begins with a grand musing on the meaning of love and heartbreak in the modern age, quickly followed by mid-tempo synths and a plucking guitar that dares you not to bob your head. The song’s central lyric, “Are you into me / Like I’m into you,” takes on different shapes, sizes, and feelings depending on the listener, and what plays as an anticipatory ode to new love can sound like unrequited unhappiness to another. The group waxes poetic in an earnest outro, relegating their sweeping deductions into unadulterated intimations. This band clearly knows who they are – and now you do, too. —Carson Mlnarik

Justin Bieber And Ed Sheeran Travel Through A Wild Green-Screen Universe In ‘I Don’t Care’ Video

Justin Bieber and Ed Sheeran‘s new collaboration, “I Don’t Care” has gotten a visual treatment with enough green screen to film a siege of King’s Landing. The video, which released earlier today (May 17) is a touching, often adorable, and sometimes terrifying look at the highs and lows of green screen. No matter what’s happening onscreen, no matter what’s happening in the world, it doesn’t matter because the two are with their partners. And they make the chaos of it all disappear.

Sheeran’s a panda, Bieber’s a walking, singing, corn-on-the-cob. Sometimes, Bieber’s a waffle cone, sometimes on top of a centaur’s lower body. All the time, however, the two are in front of a green screen. “I Don’t Care” is perhaps one of the wildest, wide-reaching in the creative landscape, videos of the year. Ed Sheeran travels through screen after screen of party and leisure at the pool, the contrast between his pixelated nature and his background making the green screen apparent. Bieber similarly journeys through locales and inexplicably gets chased by a gigantic Tyrannosaurus Rex. “Inexplicable” is probably the best word to describe this collection of vibrant, scary, and eclectic images. They just exist, strung together. But in a way, they fit, somehow.

Bieber and Sheeran released “I Don’t Care” last week. Bieber returned to the stage as a surprise guest during Ariana Grande‘s Coachella set in April. While there, he announced that new music would be on the way. Now that it has arrived, it looks like his self-imposed break from music that he announced in March is finally over.

Watch the crazy video for “I Don’t Care” below.

Alex Lahey’s Empathetic, Vulnerable New Album Is a Guide to Surviving Your Twenties

Alex Lahey is very relatable. You may have heard. Following the 2016 release of her “highly likeable” breakthrough track, “You Don’t Think You Like People Like Me,” the burgeoning Australian pop-punk artist not only won a substantial songwriting grant — “Her turn of phrase was quirky and intelligent, and really relatable,” said the prize’s namesake, Josh Pyke — but also went on to capture the hearts of critics and fans alike in the wake of this newly earned attention. After 2016’s B-Grade University EP, her 2017 debut LP, I Love You Like a Brother, and a late night television debut with Seth Meyers, Noisey U.K. called Lahey “relatable and ready for anything,” while Stereogum celebrated her “charming, relatable, and ultimately hopeful” approach to navigating early adulthood. Her music captured the sound of someone growing up, but feeling like they’re doing it all wrong — a feeling that is, well, pretty relatable.

Lahey’s appeal is no less present on I Love You Like a Brother’s follow-up, The Best of Luck Club, released today (May 17) via Dead Oceans. Its sweet and soaring pop-punk soundtracks the spiritual hangover that sets in as you gradually enter your late-twenties, a disorienting time in our lives when we fight to solidify the specifics of who we are and what we’re after. In the process, we perhaps settle down, take ourselves a little more seriously, slough off some relationships and adjust others. People change, but so do you.

For Lahey, that’s where The Best of Luck Club comes in. After settling in Nashville to begin writing her second album, she became drawn to the city’s dive bar scene — particularly, its oldest haunt, Dino’s, a place where she would often go to unwind after spending the day writing. Inspired by the warmth and the “anything goes” attitude of the space, the structure for the album loosely frames each song as the story of a fellow elbow-bender, another patron at the counter sharing their troubles, hearing yours, and signing off from the conversation with a well-meaning, “Best of luck.”

“All the people that inhabit the album exist within me. That’s the thing — I think even within all of us as individuals, there are so many different stories and different characters within us,” she tells MTV News. “We express so much of so many different people within ourselves. That’s why I think it’s so important to be able to empathize. That’s a really important part of the ethos of The Best of Luck Club: The vibe is that we’re not all that different, which is why we need to look after each other. The Best of Luck Club is that place where we can go and support one another.”

Dead Oceans

It’s that vulnerability, Lahey says, that’s so key to not only surviving this period of change in your life, but enjoying it.

“There’s so much power in vulnerability, and if you’re not able to be a vulnerable individual, you’re not going to reap the benefits or the rewards of being really happy and courageous at the end of that,” she says. “That’s something that’s a big part of the spirit on this album: Putting it all out on the table and feeling the relief of that and the happiness that comes with that.”

Written over the period of 12 months, The Best of Luck Club caught Lahey at a moment where she was finding her footing both professionally and personally, beginning to understand the balance of managing a thriving career in music with the responsibility to maintain long-term relationships and friendships. Along the way, she moved in with her girlfriend, played nearly every instrument you hear on The Best of Luck Club (yes, including the tearing sax solo on “Don’t Be So Hard On Yourself”), and even co-produced it with Melbourne native Catherine Marks. Pairing with Marks was crucial to making the album, Lahey notes, as her meticulous production and engineering expertise — which has contributed to songs and albums by The Killers, Foals, Local Natives, and a favorite of Lahey’s, The Big Moon — helped the two form a tight-knit, creative bond that steered the project’s softhearted core.

Together, they were guided by a simply philosophy: “Trying shit and seeing how it makes you feel,” Lahey says. Holed up in Melbourne’s Sing Sing South recording studio every day for a little over a month, they were able to immerse themselves in the The Best of Luck Club, spending hours searching for that one sound that could strike a certain emotional chord — a marked difference from the process of making ILYLAB, Lahey notes, which was recorded in chunks of time around her first tour.

“There was so much laughing and fun and mucking around in making the record,” Lahey says. “Fun is a big thing that I want to come out of this record. I want people to have a lot of fun with it, and I want them to interpret it in the way that fits their lives — to go with the metaphor, that they can go in the door and have a seat, that there is somewhere they are understood.”

Throughout the album, Lahey keeps that door ajar. The Best of Luck Club begins with “I Don’t Get Invited to Parties Anymore,” a power-chord-backed romper braced by lines engineered to pierce the heart: “I’ve lost track, it’s caught me by surprise / Can I go back and not be left behind?” Lahey sings close to its final, sweeping chorus, pining for a chance to reconnect with people as they’ve begun to fade away. The song finds its subject at a crucial turning point in their life: The moment they suddenly realize that everything and everyone they know is a little different now.

“‘I Don’t Get Invited to Parties Anymore’ is about coming out of your own scene in your early twenties and people have jobs and they’re moving on into their own relationships and commitments and you have to adjust the way you interact with them and adjust your expectations,” Lahey explains. “Sometimes, especially with school relationships and college relationships and that kind of thing, these bonds form kind of in a very institutional way — you go to the same place every day, you see the same people, and you create a relationship, which is wonderful and beautiful, but that doesn’t last forever. That way of getting to know someone doesn’t last forever. And you kind of have to change and adjust with the new environment that you find the relationship in.”

In kind, the album goes on to explore self-doubt (“Am I Doing It Right?”), heartbreak (“Unspoken History”), and aimless one-night stands (“I Need to Move On”). “Misery Guts” — a familiar ripper for any ILYLAB fan, and a favorite of Lahey’s touring bandmates — is a kiss-off to the backseat drivers in your life when you need to instead find your own way.

“Don’t project your shit on me so you can feel better about yourself by telling me what do because you feel like you can,” Lahey says. “That takes many different forms. A classic is the old dude coming up to you at the end of a gig being, like, “You know what I think would sound really good…?” That kind of thing, which is so fucking annoying.”

Despite its bouts with these recognizable crises, though, The Best of Luck Club manages to find a happy ending. The album closes on “Black RMs,” a love-struck anthem to the sensation of finding your soulmate, and “I Want to Live With You,” which treats shacking up with the tender romance of a John Hughes movie’s climactic kiss. That the album arcs so neatly is merely coincidence, Lahey notes, but it’s not hard to see the parallels between its tidy conclusion and the changes Lahey has made to her own life — or the journey any 20-something might weather as they stumble toward a surer version of themselves.

Altogether, The Best of Luck Club is akin to ILYLAB’s sweeter cuts like “Awkward Exchange” and “Lotto In Reverse” — the guitar effects and synth flourishes devised by Marks support Lahey’s rowdy playing and give the album a dreamy, arresting glow. If there’s a certain listlessness that develops in us as we get older, a loss of lust for life as we grapple with our own self-doubt, poor decisions, and waning ties, Lahey and Marks are the antidote.

With her second album, the vulnerable, empathetic songwriter continues to chart a course for growing up that is certainly relatable but, most of all, inspiring. Through heartache, missteps, fear of the future, and all, Lahey doesn’t let us lose our faith in fun, old friendships, forging new bonds, nor the capacity to be energized by those we find. The Best of Luck Club is open for all these stories. All we have to do is pull up a chair.

DJ Khaled’s ‘Higher’ Video Is A Triumphant, Loving Tribute To Nipsey Hussle

DJ Khaled‘s Father of Asahd is officially here — 15 tracks spanning trap, R&B-inspired pop-rap, and an OutKast interpolation, and featuring a typically superstar roster of Jay-Z, Beyoncé, Future, Justin Bieber, Chance the Rapper, Quavo, Cardi B, Meek Mill, Post Malone, Travis Scott, and somehow even more. We already know some of the songs here, like “Top Off” and “No Brainer,” but luckily there’s an entire cache of new tunes to dig into. One of them is the celebratory ode “Higher” that’s taken on a new meaning since its recording.

“Higher” finds Khaled paired up with John Legend and the late Nipsey Hussle — and the song’s video, which dropped at midnight on Friday (May 17), features Nipsey, Legend, and Khaled palling around in L.A.’s Inglewood neighborhood, not far from where Nipsey grew up. It’s also, as the title card tells, a loving tribute to Nipsey himself and his life.

Centered around a sky-high chorus hook and piano work from Legend, “Higher” allows Nipsey space to tell an origin story of sorts: “Pops turned 60, he proud what we done / In one generation, he came from Africa young / He said he met my moms at the Century Club / Los Angeles love kinda of like Hussle and Boog,” he raps. The video, directed by Eif Rivera, finds all three stars in their finest, contrasted against the biggest, bluest sky. It might even make you misty eyed.

The crew shot the video just days before Nipsey’s murder in late March. “He was so gifted, so proud of his home, so invested in his community,” Legend tweeted shortly after Nip’s death.

Father of Asahd is out now, along with the exultant “Higher” video. Check it out above.

Chance The Rapper And Tisakorean Talk Food And Pop Culture On Witty ‘Groceries’

Chance the Rapper has released a new tune that’ll make you feel all warm and fuzzy inside. It’s “Groceries,” a collaboration with Texas dance-master rapper Tisakorean and its bubbly energy will make your Friday much better, no matter how absurdly good it already is. It’s pure, nonsensical, fun.

“Groceries” is Chance the Rapper in rare form. With nice and steady trap drums that boom and bang like cannons, the jubilant melodic loops circle around like a hula hoop on the waist. Tisakorean handles the refrain and Chance tackles the chorus and the differences between their voices, the former a deeper and wider growl and the latter having a grating siren, making for an interesting contrast. Their raps are laced with pop culture references, from Spongebob Squarepant‘s Patrick Star to Braxton from The Jamie Foxx Show. Chance sounds reinvigorated next to Tisakorean’s whimsical raps and the combined effect makes for a thrilling new look.

Earlier this year, Chance teased that he would be dropping an album in July. In April, he released a venomous track with Lil Yachty, “Atlanta House Freestyle.” Combined with his latest Tisakorean-assisted drop, it appears that Chance season is upon us.

Listen to Chance and Tisakorean talk pop culture on “Groceries” up above.