Tegan and Sara unveiled "Goodbye, Goodbye"

Canadian indie rock duo Tegan And Sara have premiered the music video for their song "Goodbye, Goodbye," the synthy twin sisters' Polaris Prize-nominated Essential pop album, "Heartthrob." We have experienced deep connections with people through the exchange of emails and texts, only to discover later that a false sense of intimacy can leave a relationship wildly out of balance when you're finally face to face. The new video captured the blur of communication that often leaves us feeling disconnected and isolated from each other. So many miscommunications, so little time!
Of course there is a ton of motivation to correct the equilibrium when you're getting into a relationship, but it is far more challenging and frustrating when you're getting out of one! Falling in love is easy, breaking up is hard. Tegan And Sara's new love anthem "Goodbye, Goodbye," was originally penned by Sara. Tegan recalled to Under The Radar that it was a song that she and producer Greg Kurstin "loved almost immediately, but we also didn't feel like it had a big enough chorus." She added: "All Greg did was change the chords underneath the chorus and all of a sudden it popped, it was insane. It was in my head for months after Sara wrote it."
Sara tells HuffPost Canada Music about the song and accompanying video directed by Natalie Rae Robison: "'Goodbye, Goodbye' is a sound off about rejection and the empowerment of shutting someone out after a break-up, but it's also an acknowledgement of the distorted nature of intimacy that comes from communicating complex emotions through a cell phone or email. In a way we learn more about ourselves than each other when we interact this way. Our phones and computers are just mirrors for us to reflect again and again."
Once upon a time, we used phones to speak into and written words could take days, if not weeks, to reach someone. The evolution of technology, from texting and chat to email and Facebook, has utterly changed the way we communicate with each other, including how we deal with being broken up when your ex is but a keypad-push away. That's the theme of Tegan And Sara's new quasi-lyric video, which documents the drafting of various "Dear John" messages, all sent via text, email, or Facebook. Some heartbreakers actually grab a pen and paper, others opt for word magnets - anything so long as face-to-face interactions are avoided.

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Daughter offer up a somber ballad "Youth"

North London-based trio Daughter has recently released a new stark video for the poignant and beautiful track, "Youth," a track off of their 2012 EP "The Wild Youth," one of the strongest self-releases I have heard, as well as recent debut album, "If You Leave," which is out now via Glassnote. Calling to mind a stripped down Bat For Lashes with a forlorn Florence Welch-esq vocal, the four mid to slow tempo tracks on "The Wild Youth" are brooding and beautiful, yet never boring. Subtle, yet confident in U.K. indie folk rock band's delivery while displaying a knack for smart and incredibly effective arrangements, color me impressed.
To say it's been a busy year for Daughter would be a massive understatement. For those who have been following the development of the solo artist (real name Elena Tonra), who creates gorgeous music that is stuck in limbo between personal singer-songwriter confessions and bombastic swells of slick indie rock, with the focus very much settled on the delicate intricacies of Tonra's vocals and the sweet simplicity of the accompanying acoustic guitar. Her latest collection of songs build upon the ambient ideas first explored in short bursts on the mostly acoustic tracks on previous release "His Young Heart," which dedicated an entire track to lengthy synth chords and layered vocal sounds.
As a track itself, "Youth" is a somber and simple ballad about lost love. For the bombastic drums in the final moments of "Youth," Tonra has decided to express aggressive ideas in swathes of production techniques, the acoustic ideas swapped for clean electric guitars and synths that reverberate so heavily one could be forgiven for getting lost in them in the dark. Tonra's voice softly and surreptitiously shoots bullets like "And if you're in love, then you are the lucky one... 'cause most of us are bitter over someone," and the verses are colored in nuances of nostalgia, regret, accusation, anger and love! In my view, a perfect blend to illustrate the title.
The black-and-white video is extremely simple and effective and it adopts a minimalist approach, allowing the song to speak for itself. Tonra and her bandmates: Igor Haefeli and Remi Aguilella stand fixated to their designated spots, on an entirely darkened stage-save for three spotlights-and allowing themselves only enough movement to successfully play their instruments. It's moody and straightforward, just like the song. "Youth" is a wistful, heavy-hearted track, but there's still an underlying melancholy, and the combination synchs up for a simple yet effective end result. Tonra's voice is so mesmerizing that a simple video is all the band really needs, and it is rather fantastic.

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Yeah Yeah Yeahs are on top of NYC in "Despair"

Indie rock band Yeah Yeah Yeahs rocks the Empire State Building, NYC's monstrous 1,454-foot symbol in their new visuals for "Despair," the second single off their latest fourth studio album, "Mosquito." Shooting the video on top of the Empire State Building marks a milestone for the trio as they officially become the first group to ever shoot a video in the famous landmark. It is somewhat inappropriately titled "Despair," and no, there are no "Sleepless in Seattle" homages at any time during Yeah Yeah Yeahs' up-tempo garage punk anthem.
This aching anthem finds vocalist and pianist Karen O singing about wasted days and nights and tears stinging her eyes, before concluding, "Nothing to fear." It is one of the most melancholic tracks on "Mosquito," but drummer Brian Chase said he feels it reflects the album's "wise and peaceful sense of love." He explained: "Love has always been there in different forms. In the form it takes on 'Fever to Tell,' it's very wild and passionate. This one seems to be not quite omniscient, but can see situations from the other side, so there's a peaceful sense to it, but at the same time, encouraging whatever it is to go through its process."
Karen described this track as "a love song to despair." She added: "It's a feeling that you have that visits you time and time again. It's an incredibly uplifting song , though, about wanting to run away from certain darkness in your life. It was certainly "an iconic moment", Karen told the New York Times about video shooting. But it was also the 34-year-old singer's first visit to the summit of the legendary skyscraper. The same was true for the video's director, Patrick Daughters. "I don't like heights," he explained. While Yeah Yeah Yeahs performed on the 86th floor, a camera crew circled in a helicopter. "It was plenty loud," Daughters said. "I don't think they had to worry about the neighbors."
Karen starts the clip by making a scene in a bar, before the action shifts to show guitarist Nick Zinner in a cab and Chase napping on the subway, each on his way to the Empire State Building. Fittingly with the lyrics, the trio eventually convene at the summit of the skyscraper, where they ultimately rock out as the track adds whirling guitar and pounding drums to Karen's spare vocals. She's all smiles as the song unfolds and the band takes a minute pause momentarily to take in the view from their heightened perspective, the camera pans out to the amazing sights around New York City, and it's clear just how far Yeah Yeah Yeahs have come.

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Janelle Monáe & Erykah Badu are "Q.U.E.E.N."

Janelle Monáe is back and spotlighting her hyper-stylish in her new tasty black-and-white schemed video for the equally impressive single, "Q.U.E.E.N." the first single from Monáe's upcoming sophomore effort, "The Electric Lady," expected for a fall release. Channeling the retro swagger of Elvis's "Jailhouse Rock" video, the 27-year-old soul-funk pioneer jams while surrounded by six dancing ladies rocking bold black-striped looks in this old school soul feeds new school funk.
The powerful Erykah Badu-assisted jam, "Q.U.E.E.N.," is an irresistible art-funk strut, and also, is terrific - a punk cabaret groover that drops back on Badu's verse to highlight an incredible, funky bass lick and then makes a string-heavy transition into Monáe's unexpectedly relentless rap. It's exactly the type of stylishly futuristic and playfully absurd aesthetic we've come to expect from Monáe, and the dystopian intro perfectly sets the tone for the defiant and quirky jam that follows. Its sexy, slinky, impossibly funky grooves demanded a next-level video, and the forward-thinking Monáe has certainly delivered.
Directed by Alan Ferguson, "Q.U.E.E.N." and takes place in an alternate future, the clip depicts Monáe and Erykah as frozen human sculptures in what could easily pass for an interactive Soho pop-up art gallery. As "Q.U.E.E.N."'s funk-tinged bass line kicks in, the sculptures flicker to life with Monáe twerking in her chair and singing about haters and their snap judgements: "I can't believe all of the things they say about me/ Walk in the room they throwing shade left to right." The clip gives off a very artistic, grown woman, sophisticated fun type of feeling.
The funky Alan Ferguson-directed clip, an absolutely deadly early-'60s mod mook, and explores a witty concept, sees hipster artist Monáe teams with Badu where the two star as a museum exhibit comes to life. Instead of her predictable black-and-white tuxedo, Monáe throws on some Givenchy heels and shows off her shapely figure and  some crispy dance steps while claiming her QUEEN-status. Backed by an aesthetically stunning bevy of mod '60s dancers, Monáe finally sidles up to a sexy look Badu, who's looking terribly regal in all white and gold. Together, they sing about female equality and loving oneself despite social pressure.

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Kate Nash poured guts and mind in "OHMYGOD!"

Kate Nash is back, and she's got reasons to be bitter with a new video earlier today on MTV for her new single, "OMYGOD!" in support of her fan-funded third album, "Girl Talk." The 25-year-old British songstress may be known for making upbeat pop, but she admits that she was in "a lot of pain" and going through "a very sh**ty time" while writing her "Girl Talk," which she channels feminism, sexism and fun on it. Nash uses music as "therapy" and found her new album was the perfect way to put all her feelings into songs.
With her 2010 sophomore album, "My Best Friend Is You," Nash successfully broadened her intimate folk-pop outlook to a more slickly produced, post-Amy Winehouse neon-soul sound. She was clearly growing up and growing her sound along the way. At 25, Nash is still figuring out what she likes musically and, most of all, who she is. She's doing what most artists who became famous at a young age eventually do, which is to say that she's rebelling against what made her famous.
Nash had a torrid 2012 and is well on her path to becoming massive from indie popper to badass rocker, and she takes this growth even further on her new punk-tinged raw and rambunctious "Girl Talk." And yes, women who own bunny rabbits named Fluffy can still be badass. Thankfully, while Nash has moved to a more extroverted, aggressive sound, she hasn't sacrificed any of the personal, intimate lyrics that marked the best of her early songs. Nash says she has "absolutely poured my heart, soul, brain, guts, and mind into this record" following a "significantly important and challenging year," and "Girl Talk" reflects that intensity.
Nash is clearly a woman dictated, and driven, by her moods and impulses, wherever they may lead. She's got thrust, she's open, articulate, opinionated, and refuses to ever edit herself, to rein herself in. This is her, take it or leave it. She leers as she lambasts those she once considered soul-mates in songs like "OMYGOD!" which benefits from a chorus that feels like it's been beamed in from another, more tuneful place.  "OMYGOD!" lyrics showcase Nash's poeticism, musicality and a perfect harmony between music and lyrics. "OMYGOD! is the poppiest one on the record and it still shows that I still have inside me those pop medleys and harmonies," Nash said about song. Enjoy the clip.

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A Rocket To The Moon goes on trip 'Ever Enough'

A Rocket To The Moon teams up with Disney Channel actress Debby Ryan set off on a roadtrip for the their just-released video for their ever emotional ballad, "Ever Enough," the first single comes off the four-piece rockers' upcoming highly-anticipated sophomore LP, "Wild & Free," which drops on March 26th. The clip is a sweet little narrative about the power and possibility of love and features a couple on the run, with plenty of heartstrings tugging sequences young love to make the lady in your life swoon.
"Ever Enough" is a song that showcases A Rocket To The Moon's evolution from teen-leaning pop rock act to full-blown alternative folk rock juggernaut with a finesse that is second-to-none. The song deals with the insecurities so many of us struggle with concerning matters of the heart, and as a "hopeless romantic," this guitar-and-piano ballad kicks off on an acoustic note then launches into a love song so cinematic, and it finds the perfect balance between light-hearted moments and serious topics, conveying the theme of the song, that true love is unwavering under all circumstances.
"'Ever Enough' is a song about reassurance," frontman Nick Santino explained. "It's about telling the person you care about that you will always be by their side through the thick and the thin, the good and the bad no matter what." With its pretty acoustics, heart-tugging melodies, and bright piano parts, it's a song that speaks to that fierce kind of love everyone looks for but can't always hold onto. These boys aren't ashamed to wear their hearts on their sleeves with this one, and they've created some inspiring instrumental bits to match, so we certainly recommend giving it a spin or three.
Directed by Mark Staubach, the plot-driven clip is emotionally moving, showing an intimately gentle and romantic side of the band and depicts a romance-fueled road trip through the desert includes impromptu dancing, campfires, and a Vegas wedding, which you won't soon forget. It stars Santino and Ryan as a young couple who set out on the road in an attempt to escape their problems. That all sounds well and good, wild & free, but we soon learn that Ryan is sick and has busted out of the hospital with Santino to live out whatever time she had left. Valentine's Day may have passed, but the couple prove that true love does conquer all.

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Passion Pit revive relationship in "Carried Away"

Passion Pit offers another different variation on typical Valentine's Day romance and takes on messy and dramatic relationships with their latest visuals for their new glimmery pop cut, "Carried Away," taken from American indie pop band's sophomore studio album, "Gossamer." Passion Pit are still milking the single potential of "Gossamer," with good reason that record is full of jams. The video is a fantastical depiction of a troubled relationship in fast-forward.
Sure, the beat and vocals make it sound like a happy-go-lucky song but once we witness the break-up fights, the awkward dinner party, and the scenes of their loving past, that all goes downhill. The clip, directed by the sibling-duo Brewer brothers (Purity Ring, Alt-J), goes through the life of a relationship. Brewer certainly does that but only after sucking you into a dysfunctional and surreal, yet strangely real love/hate relationship. To say this relationship is disfunctional is an understatement, but it plays out in increasingly fantastical ways.
"The music video was shot in Los Angeles and tells the story of a love/hate relationship through a playful Godard-inspired narrative that follows the couple throughout their home," explains Brewer. It's a swirling, chaotic portrayal of a relationship - a real one with fights and all. The clip stars Passion Pit frontman Michael Angelakos and the "One Tree Hill" actress Sophia Bush as a couple in a desperate attempt at reviving their almost-dead relationship. The pair once cared about each other, but now find their relationship on the verge of falling apart.
The clip showcases they live together in an adorable house, filled with charming tchotchkes and a failed cat adoption, but as the couple with some interesting abilities who can't stop arguing and playing pranks on each other and their relationship begins to crash and burn, the house literally turns on them as Bush turns her back to Angelakos, their bed splits apart, sending Angelakos into a 'symbolic' pit of breakup hellfire. It's a lighthearted look at the ups and downs of love. So open up that box of chocolates and watch the clip below.

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Of Monsters and Men debut "King And Lionheart"

Of Monsters and Men, an Icelandic alternative folk sensation, burst on the music scene this year with their first hit single "Little Talks," and the five-piece indie folk/indie pop band is back and have managed to release another epic, cinematic treat new video for their new single, "King and Lionheart," the title track for their upcoming album. Like all their songs, "King And Lionheart" has a folksy pop/rock feel, and the clip is a medieval, 'Middle Earth' fantasy.
Formed in 2010, Of Monsters and Men are the biggest thing to come of Iceland since Sigur Rós, and of course, their beautiful landscapes. Like many Icelanders, guitarist Ragnar Þórhallsson and vocalist-lyricist Nanna Hilmarsdottir are fascinated with the idea of storytelling, and many of their songs are fantastic fables of lions and other animals. "I like animals, and I think they're more fun than human beings," Þórhallsson told Spinner. "They're just very fun to write about. There's something simple about it. When we write the lyrics, we're often thinking about the human being as an animal. The raw animal instinct of a human being. It's like, how bad can people be?"
Directed by WeWereMonkeys (Mihai Wilson and Marcella Moser), whose last promo for "Little Talks," was named iTunes Alternative Single Of The Year last year, received over 50 million views on YouTube, so anticipation for a follow-up is erm, rather high, and it's no surprise that this long in gestation follow-up is just as epic. It has the feel of a Tolkien/Martin 'Middle Earth' fantasy, complete with a supernatural sprite that comes to the rescue, but there's enough clues to make you realize that it's a post-apocalyptic near future.
No fear, with all the charm and and wonder of their former promo, WeWereMonkeys deliver on all fronts. Of Monsters and Men showcase their splendid feel-good single "King And Lionheart" behind a dark animated visual. Focused on the endeavor of two intrigued little children, a brother and sister are desperate to reunite in the wake of a world taken over by an evil force, the video follows a sea of animated creatures and angry men as they chase down the all but innocent kids through a seemingly permanent coat of darkness. Guided by a light though, the children are able to find refuge in a large 'spoiler alert' castles that doubles as a spaceship.

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Stereophonics return with "Indian Summer"

Welsh rockers Stereophonics are back and have unveiled the brand new video to their brand track, "Indian Summer," the third single to be taken from the four-piece band's upcoming highly-anticipated eighth studio album, "Graffiti on the Train," which is set to hit shelves on March 4th through their own label Stylus Records.
Spanning an impressive 15-year career amongst the finest of classic British songwriters, the new 10-track record will be their first since 2009's "Keep Calm and Carry On," and fans are dying to get their hands on the album following the Stereophonics' unveiling of two of its tracks" "In a Moment," and "Violins and Tambourines." Now, we've been given another dose of the album, which is their least conventional yet, with its newfound lightness of touch.
Speaking about the writing and recording process of the record, frontman Kelly Jones revealed: "I found myself walking into a studio with 40 unfinished ideas, rather than 10 finished ones. And by doing that the songs became way more unpredictable... the band and everyone involved had a good time doing it because we knew we were doing something we hadn't done before."
A storyteller first and foremost Jones unravels storylines and sketches characters with poetic finesse, and he has also written and directed the video himself for "Indian Summer." In new clip, sporting some lovely new haircuts and clean shaves along with their new drummer, Jones and his bunch of merry men return to good form with their radio friendly track which sees some influence uprising from Tom Petty and Bruce Springsteen. Enjoy their story below.

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Imagine Dragons 'Radioactive' embracing change

American indie rock band Imagine Dragons has released the wonderfully and bizarrely entertaining new video for their intense single, "Radioactive," the opening track and latest single from their debut album, "Night Visions," the title was inspired by the twilight hours, the band's favorite time since a lot of lyrics they have written have come from dreams and of course nightmares after dark.
The Las Vegas rockers open their debut album, "Night Visions," with this track on the subject of embracing change. The frontman Dan Reynolds sings about the realization that the world is becoming different and breaking free by doing something new. Reynolds explained the song's meaning to MTV News: "'Radioactive,' to me, it's very masculine, powerful-sounding song, and the lyrics behind it, there's a lot of personal story behind it, but generally speaking, it's a song about having an awakening; kind of waking up one day and deciding to do something new, and see life in a fresh way."
"A lot of people hear it in a dark way, but, I think, without saying the word too many times, it's empowering, and so we wanted to display that in a way that the listener wouldn't see normally," he said. Though the lyrics suggest dark and broken world, the band has decidedly taken a different route with their Syndrome-directed video, which features features plenty of puppet-on-puppet violence and actors Lou Diamond Phillips and Alexandra Daddario. The clip revolves around a mysterious female drifter who is on a mission to save her Imagine Dragons friends from the perils of a sinister, underground puppet-fighting ring.
"We read through a ton of scripts from really talented directors, and we came across one that stood out to us in particular, because it put into visuals the general theme of the song, which is kind of an empowering song about an awakening, but it did it in a way that was very different," Reynolds told MTV News. "A lot of people probably see a post-apocalyptic world when they hear 'Radioactive,' understandably, but we wanted to deliver something that was maybe a little different from that, a lot different from that."

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Florence+The Machine updated "Lover To Lover"

Indie rock band Florence + The Machine have already unveiled one video for their powerful tune, "Lover to Lover," the darkly stripped-back live clip that surfaced in January, but the English powerhouse went in a much more cinematic direction when releasing an updated set of visuals, which premiered last Wednesday on Nowness. The gospel-tinged blastoff appears on the band's 2011 hit sophomore set, "Ceremonials," and is scheduled to be released on December 4th as their fifth single.
This song finds lead singer Florence Welch singing of hopping from "room to room, bed to bed." It was inspired by '60s Soul numbers such as "I Heard It Through The Grapevine." She explained to Mojo magazine: "It's me saying, 'I want to make a song just like this.' I was listening to lots of Marvin Gaye and lots of Otis Redding, and 'Lover To Lover' was me wanting to make a song I could imagine a male Soul singer doing. I was listening to a lot of Sam and Dave, as well." The arena-scale Motown of "Lover to Lover," is reminiscent of the Eurythmics at their most soulful.
Helmed by director Vincent Haycock, the dramatic new clip features shots of Welch in the throes of a tumultuous and disintegrating relationship with up-and-coming Australian actor Ben Mendelsohn as their lovers' quarrel escalates into something a little more darkly dramatic. "It was completely improvised," she said. "I had to think about things that I was actually angry and upset about. It is cathartic, but you have to literally let yourself go. Ben is so sweet and accommodating - afterwards he gave me this massive hug and made me feel so comfortable."
Beginning in a drab Los Angeles house and building to a cathartic gospel frenzy, the romance ends as the lovesick heroine disappears amid mist into the Pacific Ocean. The baroque pop chanteuse Welch playing a put-upon housewife who echoes the track's heart-aching refrain, and performs a Tale of American Heartbreak who sets a fire burning possessions and seeking her salvation and gets swallowed up by the ocean in a washed-out California beach town and according to Welch, the shoot was an emotional one: "It was the most intense experience because we shot the whole day before; I went back to the hotel, slept for three hours, woke up and dove into the sea."

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Regina Spektor belts out the emotional in 'How'

Regina Spektor has posted her brand new video for the beautiful ballad "How," the third single from her latest sixth solo record, "What We Saw from the Cheap Seats," is out now via Sire/Warner Bros Records. It's not as if, at 32, the Soviet-born New Yorker is an unknown, and she makes quirky, literate and stylistically varied pop. It was hard to escape her 2006 single "Fidelity," with its memorable chorus: "It breaks my heart," in which she repeats the first sound of that final word a dozen delirious times.
One track from new album that blatantly stands out with its divergent style, unique composure, and pure emotional core. And that somber, shiver-inducing tune is "How." We say "How" is divergent in style because while it remains true to Spektor's signature, alt-pop-piano tinkering, staccato sound, the song takes on a whole different rhythm and melody structure than what we're used to from Spektor, it slightly reminds us of an old blues song! And that emotion! You can hear it pouring out from somewhere deep within Spektor.
This sparse piano ballad is a straightforward breakup song, a rarity for Spektor, who is better known for her stream of conscious lyrical content. It finds the pop singer pondering how she can never forget the warm embrace of her lover. One speculation is that the song is about her old piano she left behind in Russia, and another is the more obvious, break-up song theory. But whatever "How" is about, it's a ballad for the ages, and is a staple for anyone needing a sad, yet sonically gorgeous song to shed a few tears to when they need a good cry! This timeless ballad sees Spektor backed by piano and drums, allowing her powerful pipes to shine and soar through the mix.
The video itself kicks off with a plain black and white background and close-ups on Spektor's face, but things get more colorful as the clip progresses. In fact, Spektor changes into a butterfly as she belts out the emotional lyrics about a broken heart backed by piano and drums, "How can I forget your love? How can I never see you again? How can I begin again? How can I try to love someone new?" as the song draws to her expressive eyes fully open allowing the viewer to almost glimpse into her soul. Backed by the gentle sway of strings and a piano part that's sparse and somber, the anti-folk songstress wants to have her cake and eat it too in the game of romantic nostalgia.

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Paper Route on a rescue mission in "You And I"

Nashville indie rock trio Paper Route released the music video for their new song, "You And I," the second single from their upcoming long awaited self-released sophomore album, "The Peace of Wild Things," would be released on September 11. The three-piece have become known for their blend of infectious beats, larger than life melodies and soaring choruses; this collection is worth the wait for Paper Route fans and will serve as a breath of fresh air for music fans.
"You And I," like most Paper Route songs, is built around a beat. "Drums are a huge part of the Paper Route songwriting process," says vocalist J.T. Daly. "We tend to write like a hip hop band almost. It's all about beat placement." It's extremely well-produced and slightly addictive. A far cry from my typical listening habits, but the unique electronic elements and spot-on vocals are too good to pass up. "You and I," is a heartfelt anthem that delivers hazy synthesizers, a chunky rhythm section and inspirational words.
No, it's not like the Lady Gaga song of the same name. It's synthy and very '80s. It could have easily lived on the soundtrack of a John Hughes film. While "The Peace of Wild Things" lyrically chronicles specific experiences of soul-crushing disillusionment and a fractured sense of faith and wonder down to the minute particulars, its creators presume - very much in the traditions of Romantic poetry and '80s New Wave – that creatively fixating on the local, the achingly personal even, is probably the surest path to the universal.
Shot in a black-and-white world of years passed, "You and I" has the Nashville-based band on a rescue mission. Daly's subconscious, it seems, leans towards the film-noir side. "I get to punch someone, ride a motorcycle, and I get the girl," he says. The female in the video wants Daly to give her his heart. He's apprehensive and falls asleep dreaming about her request. He battles these shadowed figures who are trying to "kill" her. The shadowed figure are actually Daly preventing himself from giving her his heart. After saving the female, he concedes and gives his heart to her, only to have her shoot his heart. He wakes up from his dream still undecided.

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Heartless Bastards released "Only For You"

Heartless Bastards have released the official music video for the song "Only For You" from the garage rock band's latest fourth full-length, "Arrow," which is firmly rooted in southern blues rock - gritty yet sentimental, out on Valentines Day this year on Brooklyn-based indie label Partisan Records.
Formed in Cincinnati, Ohio in 2003, and since then, the Bastards have experimented with classic foundations. The lead singer Erika Wennerstrom's vocal was talented and especially unique. As the only consistent member in the Austin-based indie rock band's ever-changing lineup, his masterful singing never fails to enrapture. And don't let the name of the band fool you - these bastards are in fact full of heart. Sharp, smart, indie rock that rocked as much as it moved you emotionally.
Garage, folk, country, blues - throughout the Heartless Bastards's career, all these genres have been incorporated with mixed results. Rather than evolving a sound, the Bastards seem to be searching for one. "Arrow" has the potential to become something better if the Bastards decide to tread the path they're on. Chock full of repetitive guitar riffs and rock 'n' roll attitude, the album gravitates towards something you might hear from the garages of budding rockers worldwide in a good way. But sometime between their debut and 2006's "All This Time," the quartet decided to trade in their raw garage sensibilities for a more sophisticated musicianship.
Heavily inspired by bluegrass, the banjos, fiddles, and peddle steels give the album a distinct country flavor. It left some Bastard fans, myself included, nonplussed and wistful for the old aesthetic. "Only For You," is exhilarating in terms of Wennerstrom's vocal range. Accompanied by only two guitars and some easygoing drumming, he fluidly travels up and down different registers. It is a song tangentially influenced by southern rock, artistically expanding on the blues element but (thankfully) ditching the Lynard Skynard guitar licks.

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Christina Perri Gets Emotionally In "Distance"

Christina Perri has released the music video for "Distance," the third single of her debut studio album, "Lovestrong." As stated by Perri on a video on her Facebook, it featuring her good friend, Jason Mraz. The Elliott Sellers-directed clip sees Perri and Mraz singing the lyrics of the wistful ballad while wandering the same place, but without running into each other. It gives us an antique look inside Perri's heart. She and Mraz croon the melodies in the sweetest ways, making us happy and nostalgic both at the same time!
"'Distance' is a song about loving someone at the wrong time in your life," the 25-year-old tells Rolling Stone. "Maybe it's too soon, maybe it's too late, but nevertheless it's about being around that one whom your heart longs for without being about to show your true feelings, without being able to tell them. It's very hard to keep love a secret, and I wrote this song about the one time I had to." The bittersweet message and haunting duet vocals from both artists carry the clip with plenty of emotional vulnerability and engagement.
"Distance" is a quite beautiful on the ears, and it sounds like a much more restrained performance from the 'Jar Of Hearts' singer and the emotionally engaging combination of her and Mraz really does connect with some resonance. They'd create the type of song poignant enough to leave you blubbering and snot-crying into an empty pint of ice cream, because that's just what happens when you add one amazing singer-songwriter to another amazing singer-songwriter and then throw in a video with hazy sunlight and a white dress.
In the gorgeous clip, Perri and Mraz play lovers who are torn apart. There are a ton of sad faces and stolen glances, which work just as well. Symbolically, the pair are in the same house, yet they can't quite find each other. As Perri roams the property, she eventually stumbles upon a huge wall of photos and mementos that we're assuming remind her lover, as she dramatically rips the photos off the wall only to reveal a real live Mraz, calmly strumming his guitar and waiting patiently for Perri to find him. The clip leaves us in suspense.

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Metric Premiered "Youth Without Youth"

To go along with Tuesday's release of their fifth studio album, "Synthetica," Metric has premiered the music video for their gleaming, stomping glam-pop single "Youth Without Youth," the lead single from Canadian indie rock band's new record. The foursome rock band is known to grace their albums with at least one standout song. The new tune is no exception, it's a driving, punchy number that vaguely resembles Muse with band's frontwoman Emily Haines at the helm.
"Youth Without Youth" tackles the subject of a fraying social state through the eyes of a deprived youth, and is about a troubled youth was inspired by the spiraling student loan debt, which at the time it was written had reached $1 trillion in America. Haines said that the track's inspiration "started as just one verse, a very slow, sad story, and the song grew from there. The lyrics trace innocence lost as childlike games grow into teenaged trouble, and these words are buoyed by a glammy, sleazy, danceable sound.
Lyrically, Haines toys with powerful imagery, using phrases like double dutch with a hand grenade, and "rubber soul with a razor blade to describe a young life full of malaise and even criminality. "Youth Without Youth," is far more striking with its funky riff, blending nicely with Haines' honeyed tones, and it is a glam sugar with a bitter core. Perennial indie crush Haines drops a wasted-youth anthem with scarred poetry like 'We played blindman's bluff till they stopped the game,' over a bleak-bubblegum stomp.
Haines ignites some powerful, heady sociopolitical messages atop fuzzed-out electro-rocking melodies and rhythms in Justin Broadbent-Directed clip, which is the most '90s-MTV thing I've seen in a while. It opens with a stomping, strutty beat that ushers in Haines, who's flicking lighters. In a drably colored room, back-in-the-day childhood imagery is juxtaposed with more violent material, mirroring the song's sentiment. There's a girl building a multi-tiered birthday cake, a bunny rabbit, a stuffed animal and football, all interspersed with guns, handcuffs and grenade.

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Florence And The Machine "Breath Of Life"

Florence And The Machine return with a new video for the bombastic new song "Breath of Life," their contribution to the upcoming summer blockbuster fantasy thriller film, "Snow White and the Huntsman," hits theaters on June 1st. The clip features additional bonus battle scenes from the highly anticipated film, including Oscar winner Charlize Theron sinking into a bath of milk and literally sucking the life out of people. If you need a little magic for your Monday, go nuts below.
When Florence Welch, the "Machine" frontwoman spoke to MTV News back in March about recording "Breath of Life," she couldn't hide her excitement about writing an anthem and drew inspiration from the perspective of Charlize Theron's Evil Queen Ravenna or getting to spend the day working with a 60-person choir in London's historic Abbey Road Studios, under the stewardship of American film composer James Newton Howard that she "almost cried" during the making of the tune.
"We went in and demoed the track, these big, clattering drums, huge bass sounds and everything was very intense and then we sent that to the guys in LA who composed it. And it was amazing to see the music we played being turned into this amazing orchestral thing," Welch continued: "You feel in a bit of a way like you're kind of making it up as you go along, and then when you see it done, laid out before you in such a beautiful, orchestral fashion, it's really incredible... When the baritones came in, I nearly wept, it was so emotional."
Besides capturing the 'Ceremonials' songstress Welch belting out the song and her bandmates lying down the soaring arrangement and the process of recording the single backed by a booming orchestra and a keening chorus, the black and white video features scenes from the film. And much like the song, it packs a punch. You can practically feel Welch's emotion as she brings "Breath" to life, and for a song so massive, the video provides viewers with a rather intimate look into its creation. Combine that with the fact that the clip and the song perfectly match the film's epic, ethereal scope, and the anticipation to see the final product only grows.

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Kanye West Plays Up In "Lost in the World"

After a rush of new material from Kanye West in April, the Chicago rapper is turning to the archives his latest video for "Lost in the World," the first part of the finale to his critically acclaimed 2010 solo effort, "My Beautiful Dark Twisted Fantasy." Collaborated with filmmaker Ruth Hogben, the black-and-white visual reliant on simple, but effective, imagery. In typical Yeezy fashion, the video breaks the mould of popular rap aesthetics while still celebrating the extraordinary talent that has made West a modern icon and captures the pulsing energy of the Bon Iver-assisted track.
"Lost in the World" about love gone wrong features tribal drums and samples Bon Iver's "Woods," a song originally written about alienation, applied by West "as the centerpiece of a catchy, communal reverie" on the album. It features several musical changes, beginning with indie-folk singer Justin Vernon of Bon Iver frontman's faint vocals, followed by 4/4 drums, gospel-styled chorus, and increased tempo, and a final measured tempo.
The song also samples the vocals from the soul musician and jazz poet Gil Scott-Heron's "Comment No.1," a blunt, surrealist piece in spoken word about the African-American experience and the fated idealism of the American dream. West explained to MTV News: "That was the last song on the album and emotionally it just fit the crescendo of everything that I was saying and what I wanted to say to this girl. And it's also my favorite eight bars that I've ever written in my life. I think it's one of the greatest pieces of writing."
The dark clip plays up the desperation of the "Lost in the World," with cloud-filled images and a group of models dressed in sheer fabric expressing their pain through dance. West himself appears on a mirrored platform, which reflects the dark sky above, and as the video progresses, the looming structures overhead begin to part, revealing an ominous city skyline. It's simple but beautiful imagery that turns dark and intense as West turns on the bright lights in the form of jarring strobes as the video swerves into abstract urban scenes.

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