A roundup of the latest music videos from Las Vegas-affiliated acts
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EDM duo Black Boots (Mikey Francis and Pedi “Lightknife” Amiri) have a very timely thread going through their two most recent videos, both directed by local filmmaker Jeremy Cloe. The previously released “Flash of Light” centers on two apparent fans (a male and female) of the band, one of whom is captured and becomes the subject of memory scanning and erasing. Both the fans and the captors seem to appear again in the just-out “Streetwalker,” which, given the image of Amiri spray-painting over a surveillance camera that reveals the couple's wherabouts to the mysterious thug-agents, would seem to find overlap with the NSA scandals. Big Brother appears to be watching Black Boots and their faithful — and now, so can we.*
Falling in Reverse, “Alone”
Former Escape the Fate singer (and former prison inmate) Ronnie Radke is low-hanging fruit for the Internet peanut gallery. Vice recognized this and decided to critique his current band Falling in Reverse’s new video, “Alone,” where the vocalist raps about his allegedly blingy lifestyle and attacks his critics (“Oh! Don’t give a fuck about you,” he sings, and yet, the commenting function for the clip is disabled). The subsequent post, called “the worst music video ever starring the world’s biggest dickhead,” has already garnered “Alone” some three million streams. The only thing that can scrub away at the mental stain of Radke’s Diddy-meets-Durst performance is reading the Vice webpage commenters (sample: “Epitaph [Records]! Return these guys to Guitar Center so they can sell me my strings.”). Sometimes, it’s worth it to encourage the online trolls.
Most Thieves, “Holy Wars”
The latest video featuring the alt-rock quintet — by Danny Drysdale, who directed a couple of Killers videos — is a tougher thematic nut to crack. Besides the obligatory footage of the band performing, there’s imagery from what appears to be a Chinese locale (a packed train, a possible place of worship with lots of incense, people exercising in their street clothes); a kids’ handball game, where the wall depicts the Hollywood sign; and a twirling tetherball. Are the disjointed settings just a reflection of the band’s random touring itineraries? Is the MacGuffin the incense or the tetherball? What spiritual upheaval am I missing here?
*This version contains updates of the printed version.