Video Of The Week #41: Anna of the North - Someone

Video Of The Week #41: Anna of the North – Someone

Anna of the North‘s ‘Someone’ is the second single to be taken from their forthcoming debut album Lovers.  This is delicious pop production: laced with triggered drums and swooping layers of synths that echo M83‘s ability to sound cinematic and intricate, steeped in the best of 1980s electro pop but appreciating how to make it sound like the Future this backdrop is crafted by Brady, who’s from New Zealand and grew up partly in Australia. But it’s Anna’s dexterous expressive tone, delicate, evocative and infectious at the same time that steals the show, this is the sound of an epiphany, bristling with the bittersweet experience of being human and alone in a world that’s so confusing. Fresh eyed, bright and affecting this is a vibrant slice of pop possessed of the longing of a unrequited heart.

Of creating the video, Anna says “It’s a video made in Miami but it’s certainly not a stereotypical Miami video. The ‘party’ side to cities like Miami can feel vacuous, making them the loneliest places in the world, so it’s a fitting backdrop to the story. It’s set the day after a big night when you instantly regret something that happened. It’s about the internal battle of the day after; trying to accept that you’re human and how hard it is to forgive yourself for your own mistakes. It gets more desperate throughout as the realisation sets in.”

 

The band have announced a full EU tour for the Autumn whilst Friday will bring the release of Tyler, the Creator’s album Scum Fuck Flower Boy featuring vocals from Anna of the North on ‘911 / Mr Lonely’ and ‘Boredom’.

Live Dates

10 Aug 2017 – Stay Out West, SW
18 Aug – Pukkelpop Festival, BE
23 Aug – Hudson Ballroom – Sydney, AU
24 Aug – Northcote Social Club – Melbourne, AU
26 Aug – Maroochy Music & Vis Arts Festival, AU
09 Sep – Bestival, UK
26 Sep – Omeara – London, UK
12 Oct – Obaren, Stockholm, SW
13 Oct – Vega Ideal Bar, Copenhagen, DK
14 Oct – Häkken, Hamburg, DE
16 Oct – Auster Club, Berlin, DE
18 Oct – Sugarfactory ADE Live, Amsterdam, NL
19 Oct – Yuca, Cologne, DE
20 Oct – Pop Up du Label, Paris, FR
09 Nov – Parkteateret – Oslo, No
10 Nov – Det Akademiske Kvarter – Bergen, No

  1. Whilst I agree with the first half I am slightly unsure how you can justify the second half of the sentence “steeped in the best of 1980s electro pop but appreciating how to make it sound like the Future”. Or do you simply mean that the vocals sound like a million other female pop and folk singers of the last half a dozen or more years, so it is not simply 35 years out of date?

    “It’s a video made in Miami but it’s certainly not a stereotypical Miami video.” Well done – you managed not to have 300 practically-naked women in your video, quite an acheivement!

    “The ‘party’ side to cities like Miami can feel vacuous,” No shit!

    Not a bad song at all, not aimed at people like me.

    1. I was referring to the sound and production there of course her vocal is of a type but she has plenty of personality. But the song sounds like they have absorbed 80s electro pop influences yet still managed to make a sound that’s modern and vibrant.The vocals are addressed later. It’s all subjective of course.

      1. It is indeed. In my subjective opinion it represents everything that is wrong with music.

        It is unashamedly retro, with little to nothing that makes it sound modern (IMHO) other than the vocals which are just that “aren’t I so fucking kooky” nonsense that I loved for 5 minutes when I first heard Joanna Newsome but which I got tired of very quickly.

        It’s almost like there’s now –

        Pure Pop – which I try to like like I used to like pop, but which I fend it hard to buy into when dominated by videos of naked women, auto-tuned vocals, and horrid 80s sounds (I mean the depressing and cinematic end of early 80s synth pop, not the good end that anna north rips off).

        Indie – pop with guitars – sometimes as pathetic and mainstream as other types of pop, but sometimes a bit more interesting, albeit in a “compared to a piece of dog shit I’m gald I trod in a cow pat” kinda way.

        Crap like this that has all the retro despicability of indie, combined with the blandness and unoriginality of modern pop. It is almost the fact that it tries to suggest that it is more than it is that I hate most.

        6/10 as background music. 0/10 as something to listen to.

        1. I agree with some of that, there’s a narrow band of electro pop I like and this is in it.Your review is very harsh it’s a pop song and is effective at it in my opinion. I do take your point though mainstream music and labels have largely produced these cookie cutter types masked in a vander of credibility a to disguise them some of which you mention, creating sounds to please markets rather than championing the individual artist and imaginatio that fired these genres orginally in the 70s/80s/90s. I think it goes back to the industry and why people make music now when it’s unlikely that it will be your career unless you are very lucky. If it’s for the art and enjoyment and putting it out on a indie that’s great but a major demands a more business focussed approach often to the detriment of the ‘product’.Maybe I went a tad over board on the future stuff but I was grasping for the fact that this is well produced and not over produced like most EDM in the charts. That’s part of what I liked about it.

          1. “Maybe I went a tad over board on the future stuff but I was grasping for the fact that this is well produced and not over produced like most EDM in the charts. That’s part of what I liked about it.”

            Maybe I went a tad over the top too! It has a production that I find relatively pleasant. Then again is that simply that we’re (relatively) old? I find most pop sounds horrid, and I can only presume that I feel like my dad did when big band jazz and early rock n roll became (shock horror) nasty modern music like the first beatles single. Is the autotuned modern sound simply the younger generations way of forging their own identity and keeping us away? How can I find it so hard to understand how people can listen to nasty sounds when I do too, albeit in a noise rock not pop context.

            I believe that if one puts art [or writing] into the world you can expect criticism of it. It is hard to know who deserves less of a break – the person who has decided that the only way that is finacially viable to pursue their art is by signing to a major and making large compromises, or the person who is willing to put their music out there on an indie with literally no consideration for what the listener may want.

  2. Actually, you know what, I just wanna know why she makes records like this. Like so much music I find it next to impossible to believe that it is anything other than a combination of poor taste in music, a desire to say something despite having nothing to say, and a privileged middle class point of view which says “I am too special for a normal job, I am an artist”, even though she is an artist in the way that someone who paints walls for cash is an artist.

    This may be very harsh and show my lack of empathy as much as anything else.

    This also may be one of the most hypocritical things I have ever written, and it follows on from a post that I don’t even know whether I believe but I think I do.

    1. I don’t know more about her background apart from that she’s from Norway and moved to Australia to persue her music and a relationship. So I won’t comment on class in this instance.

      1. My comment was not meant to be so much about her class, rather that her music, like most “indie” or pop with an indie sensibility is made by the middle classes. That said her moving continent to another country to puruse music is certainly more of a middle class than working class thing to do. Or rather it would be if she was British, not sure how true it is of Norway.

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