Today's Pick

Chicago EDM group Krewella has been around for the better part of half a decade, which means they have plenty of friends in the business. That comes in handy, it turns out, when putting together a 8-track remix EP, "Play Harder," the band's first EP, topped Beatport, dance music's biggest retailer, out December 10. The Electronic dance music group have let loose a brand new official music video for their hit single "Alive," one of the many soon-to-be-banger-tracks with a few remixes off of their EP.
"A lot of the remixers are friends that we know personally and reached out to," the electro trio composed of Jahan Yousaf, Yasmine Yousaf and Kris "Rain Man" Trindl said in an email to The Huffington Post. "We are blessed to know so many talented producers." Calling in friends and confidants is a smart move for Krewella, who embrace a certain DIY approach to music and the consumption of it. "We're going to keep putting our music out for free, but if we sell certain records, we encourage our fans to grab our music in any way possible," the group wrote before adding, "*cough cough zippyshare.*"
Krewella's EP contains a wide range of EDM styles including dubstep, electro & progressive house, drumstep, and moombahton. And perhaps that makes their success even sweeter. "Alive," is a huge melodic electro house banger, and an track full of rebellion and living life to the fullest. I don't think there's any doubt 2013 will begin with an enormous Krewella takeover.  Moving quicker through the EDM ranks than two hot girls can drag their guy friend to the front row of a show, their rise to success has been impressive.
The Brian Schlam directed-video takes place in a run down desert which leads to breaking stuff, partying, and burning a stuffed panda bears, depicts three band members and co. causing a ruckus in post-apocalyptic barren lands. This clip for "Alive" is all about that teenage fantasy of having a dilapidated Instagram-y crash pad in the desert, where you and your friends can spraypaint, make out, and burn stuff. Yasmine and Jahan's vocals are on point, and we're also not complaining about the sexy "rocker meets leather biker at the apocalypse" look they've glammed up for the clip.

Despite their recent breakup, Ellie Goulding released the music video for her newest track "Bittersweet," produced by dubstep heavyweight and former boyfriend Skrillex. Although Skrillex is known for his hard hitting dubstep infused tracks, this single takes a slower mellow approach. Expect "Bittersweet" to be featured on the upcoming "The Twilight Saga: Breaking Dawn – Part 2," soundtrack.

The 25-year-old English singer wrote "Bittersweet" as a tribute to her relationship with Skrillex that ended. Goulding admitted to MTV News that she is not necessarily a fan of Stephanie Meyer's Twilight series, but was still enthusiastic about lending this song to the final installment. "I'm not a Twi-hard but I take it for what it is; it's a cool thing and I can see why There's a huge fanbase. [And] they choose the best stuff for the soundtrack, so I'm really lucky to be a part of that!" she explained.
It's a chill and mellow tune, filled with far more instances of aching vulnerability than sick wobbles, and this wobble-ridden yet mellow tune making its title oddly appropriate given the couple's split not too long ago. The song also sees the DJ conforming to Goulding's style, as the music contains her signature dark electric pop sound. “Bittersweet,” the word has it , it is actually a tribute to their relationship. Regardless of the truth in that, it is an incredible potential break up track with amazing production and passionate vocals.
Goulding also told MTV News that though the tune turned out to be a perfect fit for the movie's storyline, that wasn't her intention upon writing it. "Myself and Skrillex got together in the studio and started working on this song, and it's about waking up in the morning and hoping that the person feels the same way as you," she said. The black and white clip features two characters who look and dress an awful lot like Bella and Edward running around the forest and field together and taking little breaks to be affectionate.

Florida Georgia Line will have you longing for the sunny, warm days of summer with their music video for the breakthrough hit tune, "Cruise," their remarkable debut single with Republic Nashville, and the lead single from the up-and-coming country duo's debut five-song EP, "It'z Just What We Do." The song halts Taylor Swift's nine-week reign with her country-turned-pop crossover hit "We Are Never Ever Getting Back ogether," is cruising up the Billboard charts for "US Country Airplay," "US Country Songs" and making good use of the last few days of summer.
Brian Kelley and Tyler Hubbard are making quite an impression in country music with their tight musicianship and exceptional talent for writing catchy songs. The two co-wrote all of the tracks on "It'z Just What We Do." In just a few short seconds, Florida Georgia Line make a memorable impression on "Cruise." The duo have been performing together since graduating from Belmont University, and their formal training shows in the tight execution of this lyric-heavy summer song. It's Hubbard's unique voice that stands out immediately. He doesn't sound like anyone else on country radio. His grainy southern drawl layers over banjo and electric guitars like gravy on grits.
The mid-tempo song "Cruise," tells a familiar story. The main character eyes a pretty woman on the beach, invites her for a ride, and they end up in a summer romance. This isn't an original story, but it's one that never gets old. These boys play it with inspiration and their formal training shows in the tight execution of this lyric-heavy enjoyable country summer song. In this very contemporary tune, the R&B influences are obvious in both the rhythm and the melody. It gives the song that uber-laidback quality that often characterizes popular summer singles.
Directed by Brian Lazzaro and filmed on a farm just outside of Nashville, the video's opening scene will have you wishing you were in your own ride, cruisin' down a back road with the windows down and music cranked way up loud, just as the duo does in a Silverado truck, that is until they spot a long-haired beauty in a bikini. Kelley pulls the truck over and snatches up his girl, and Hubbard does the same just a little further down the road at a small town gas station pump, before rolling in for the big party performance where their real-life friends and family all join in on the fun.

Tula Paulinea "Tulisa" Contostavlos, sometimes known simply as Tulisa, has unveiled the music video for her new break-up ballad, "Sight of You," the third solo single from 24-yeas-old British singer-songwriter, the The X Factor UK judge, and former N-Dubz member's debut studio album, "The Female Boss." The N-Dubz songstress wrote the treatment herself and the video tells the story of a break-up.
Though armed with the benefit of "The X Factor," Brit belle Tulisa has often struggled to prove her worth as a 'high end' act since joining the series last year. Indeed, though she stands as a far better vocalist than one time judge Cheryl Cole, the 'Young' singer's undeniably 'basic' demeanour has seen her fall short of winning the support afforded to Cole by both the press and the general public during her time on the show. This new single "Sight Of You" says all it needed to say about Tulisa's positioning on the UK Pop scene.
The heartbreak ballad "Sight Of You," is a bittersweet ballad featuring an emotionally-charged vocal, Tulisa called track a "Christmassy ballad," adding, "I did say at the start that there's going to be a lot of variety when it comes to my music. It's not going to have a set genre, but it'll all have my twist on it. My next single is going to be a ballad. I think it's important for every artist to have that ballad that stands the test of time. I really feel like this ballad is one of those songs. I hope it touches people."
Filmed in London by Luke Hyams, the X Factor judge showcases her acting skills as tries to come to terms with a painful break-up in the video, and in some parts is reduced to tears. Frustrated Tulisa struggles to forgive her boyfriend and believes he is only to find him exiting the toilet with a blonde lady, as she making her way through a door and walking on a rooftop with the city skyline in the background. Tulisa gets up close and personal, is seen breaking up and making up with "Shameless" star, while singing about her love woes and struggle to let a former flame go despite being hurt in the mid-tempo song.

Joanna Smith has released the music video for her third single, "We Can't Be Friends," her first single is a game-changer, a sultry ballad warning against the dangers of a seemingly innocent night out between former lovers. The newcomer failed to break through with her first two singles, the vivacious "Gettin' Married" and the less memorable "Georgia Mud." Having moved from Columbia to RCA, her third effort marks a change of pace, and hopefully a change in her fortunes.
"We Can't Be Friends," a ballad sensitively produced by Buddy Cannon with a rather pretty melody, the song portrays subdued heartbreak and the effort of suppressing it. A complete break is the only way for Smith to get over the man she still loves, as he is committed to another woman. "That song is undeniable. It completely grabbed me the first time I heard it," she says. "It just resonates so much with people, especially when I play it live." One listen to the song, and you just might think of female vocalists such as Lee Ann Womack or Patty Loveless. Smith doesn't mind that at all.
The Georgia native's lilting melody is full of heartbreak that the hardened words are trying to conceal. It's easy to imagine the painful beauty on Smith's face as she thinks about this guy, which in turn makes it easy to remember one's own bad-for-me guy or girl. It's an understated performance, one which fits the story like a good pair of blue jeans. She doesn't try to prove she's Nashville's top vocalist. The producer also limits the amount of country instrumentation, allowing the story to get the job done. Smith is the perfect voice to tell the story.
The chorus is sharp and instantly palpable. "It's not that I don't love you it's I love you way too much," Smith sings in the song, as if we weren't bleeding with empathy already. Filmed in scenic downtown Franklin, Tennessee by directed by Ry Cox, the clip follows Smith as she runs into her old flame and deals with the heartache of knowing it's time to move on. "We Can't Be Friends" should be Smith's breakout song. She's an honest talent with a sincere ability to throw every ounce of herself into any song. That might have turned fans and radio off in the past, but with this song, she hits a home run.

While most of us may have been waiting for Santa at the strike of midnight, Cheryl Cole had other things on her mind, as she gets her swagger on in the brand-new music video for her track, "Ghetto Baby," the eighth song from Cheryl's latest third solo album, "A Million Lights." Released the video via The Hunger magazine as a extra Christmas Day treat for fans via Twitter, Cheryl struts and dances like there's no tomorrow in this rather-cheap, but good-nevertheless 90s style clip.
This urban ballad "Ghetto Baby," is an R&B song influenced by synthpop and trip hop which was penned by American singer Lana Del Rey with Roy Kerr and Anu Pillai and produced by Kid Gloves. The Girls Aloud singer is a big fan of the "Video Games"singer and was interested to learn there were plenty of songs penned by her that she wasn't planning on recording herself. Speaking to Capital FM, Cheryl explained how she got to know Del Rey: "I noticed Lana about a year ago," she said. I was hearing these songs that were really fresh to my ear and amazing and I asked the guy who she was and he said, 'Watch out for her, it's a girl called Lana Del Rey'." She continued: "It all happened really organically just like that. And then 'Video Games' came out and I fell in love with her as an artist as well."
Cheryl steams up the heat for her new promo, which was directed by celebrity fashion photographer John Rankin Waddell and also features her dancer boyfriend Tre Holloway, as we see Cheryl seduces the camera with her sexy move and gets touchy feely with her dancer beau, while executing some hard, urban choreography that was utilized during her recent "A Million Lights" tour. "I love working with @rankinphoto so much that I did this exclusively for him," the 29-year-old British songstress said about the music video's director/fashion photographer.
The clip is a simple photoshoot-style clip with plenty of street dance and glamour shots. We already knew that the Almighty Aloud temptress can fight for our love with just a single glance–this isn’t the first time Cheryl's writhed around sexily for Rankin, after all. But this time around, she's serving up some of her most ferocious street dance/krumping to boot. Passions of Girls Aloud flashbacks galore!

To celebrate the fact that we didn't die in some sort of apocalyptic night, Canadian pop rock band Marianas Trench have released the music video of latest single, "Stutter," the fourth single from the pop-rock quartet's third studio album, "Ever After," which is in stores now. The band have been successfully bring a theatrical epic destined to reign supreme in the ears of all mainstream audiences, fans, and critics alike.
"Ever After" is a concept album that tells the story of a man awakening in a land run by Queen Carolina, who uses her factory to build toys that steal hearts. The man goes on a mission to find Porcelain: the missing, heartless, adopted daughter of the former king. She holds a piece of a key that opens a chest that will allow him to return home... or something like that. If it makes zero sense, don't feel bad. Despite the story sounding like a bad Nintendo Wii game, it takes absolutely nothing away from "Ever After" overall. If anything, it shows the much admired ambition of Marianas Trench, and the fact that they can make an album of this brand work so well.
Josh Ramsay, the lead vocalist explained in an interview with AOL Music about the inspiration behind the "story" that is "Ever After," which "is a fairy tale, it takes the listener on a journey into a dark, mythical world, and helps them to find their way home when all is said and done. The story is inspired by both our own personal experiences and fairy tales of our childhood." Marianas Trench certainly aren't unfamiliar with the concept route in general and "Ever After" demonstrates exactly how to actualize this feat. For records in this vein, it's not only about the story, but the execution as well and the execution here is damn near flawless.
"Stutter" provides a break from the dramatic ballad as they're absolutely massive pop numbers that are huge on substance, catchiness, and production, which is a formula Marianas Trench has down to a science. True to the band's nature, the video is a bit kooky, tons of fun and very creative. For "Stutter," the band heads to the swingin' Big Band era of the 1940s. They attempt to blend into the crowd by practicing their jive moves while avoiding a stern-looking police officer and her posse.

Colbie Caillat celebrates Christmas on the beach in her recently released new video for the fun-loving Christmas track, "Christmas In the Sand," the lead single and title track from her debut Christmas album, "Christmas in the Sand."  Whether we want to admit it or not, Christmas is right here and other than gift giving and receiving, the Christmas tunes are the best part.
Having lived in sunny southern California her entire life, Caillat has quiet experienced the so-called joys of "white Christmases," the 27-year-old Malibu-born and two-time Grammy winning singer songwriter brings her easy going rhythms and breezy style to this album, which breaks from traditional (and boring) compilations in that it features four original Christmas songs and eight holiday standards. It's not the same old renditions that have been playing for 60 years, and Caillat provides a low-level musical hum that induces feelings of happiness, warmth, and joy.
Caillat told Billboard she wrote this upbeat and fun track during her vacation on a small album in Bali, "I was thinking, what do they listen to over here [Hawaii] at Christmas time? I bet they don't always want to hear songs about white Christmases and bundling up 'cause it's cold outside. They want to have a holiday song they can relate to." Caillat teamed up with frequent writing partners Kara DioGuardi and Jason Reeves to craft the bubbly and admittedly silly track, "Kara started coming up with all these funny lyrics about Santa falling off his surf board and Rudolf playing reindeer games on me," she says.
Filmed in Malibu and directed by Roman White, throughout this sunny take on a Christmas song, the lovely California girl rocks a typical California look and makes it look pretty darn appealing as she bounces around on a beach singing in a breathy voice about Santa in his bathing suit. Caillat's voice is strong, yet sweet, and the song is definitely fits to my kind of warm California Christmas. The upbeat tune of the song makes you want to sway in your seat. Her voice reminds me of fellow singer songwriter Sarah Bareilles so if you're a fan of hers you'll definitely be pleased with this album.

Natasha Khan, known by her stage name as Bat for Lashes, is ending 2012 on a high note. After releasing her third album, "The Haunted Man," in October to critical acclaim, the 33-year-old British singer returns post-apocalypse and gets mildly creepy to deliver a new coinciding aesthetic video for the shivery song, "A Wall." This one tells a labyrinth-like modern fairy-tale love story in a house party setting.
The haunting goes in all directions on Bat for Lashes' magnificent 2012 album, "The Haunted Man." The specter of war haunts the male characters, but "your ghosts have got me, too," Khan sings at one point, and on the cover she literally carries a man's weight on her shoulders. It should go without saying the record is haunting for the listener, too. "A Wall," a vocoder-inhabited electro-pop song with synth work by TV on the Radio's Dave Sitek, puts even more of the burden on Khan's lyrical protagonist, a situation that comes surreally to life in yet another spellbinding video from the album.
“A Wall” comes lensed once again by director Noel Paul, whose muse is clearly Bat for Lashes. This time around, however, Paul's got her in an intriguing blond-wigged, getting a little too saucy and extravagantly drunk at a strangely sedate party with actor Harry Treadaway, whose slight figure looks quite a bit like that of the man on album's cover. He's wearing something furry, and he's clearly somehow unwell. Haunted, even. Watch Khan roll around with a male furry in this cute, but semi-twisted love story that could have been easily shot at the Overlook Hotel from 'The Shining.' Surreal party, labyrinth and all.
A labyrinth-like hedge, through which the two fail to escape, subtly evokes the song's hook: "Where you see a wall, I see a door." Meanwhile, Khan nuzzles her uncanny man, whose odd attire also distantly recalls the fallen angel in R.E.M.'s classic, Gabriel García Márquez-inspired "Losing My Religion" video. It's not giving away too much to point out Khan looks happier, and more like herself, by the video's end - the wig comes off! - but all in all it's a vibrantly creative, beguiling look at the things we carry into our relationships. And how we keep each other from falling down.

The infectious, heart pounding, club sounds of Calvin Harris returns and teams up with Tinie Tempah unveiled a unique, eye catching, hectic and controversial video for their radio-friendly collaboration, "Drinking From the Bottle," the sixth song from Harris's latest third studio "18 Months," available in stores now. The 28-year-old Scottish DJ tries to show us a different side of Hollywood in his new video.
The dance track, where Harris writes about life's excesses through his lyrics, finds Harris linking up with the English rapper, who declaring he's being "busy for the next top model / Who's wearing something new and something old / And something borrowed / I know this crazy life can be a bitter pill to swallow / So forget about tomorrow / Tonight, we're drinking from the bottle."
Directed by Vincent Haycock and AG Rojas, Harris and Tempah take us on an emotional roller-coaster through Hollywood in the visuals, and its plot centers around, you guessed it, The Devil, who wanders around Los Angeles, observing people and engaging in all possible vices, including booze, drugs and even cannibalism throughout what ends up turning into a monologue inclusive short film.
Take a tour of Hollywood's sleazy side with the devil himself, the fantastic clip opens up with two fellas on the street having an interesting conversation about Joan of Arc before it breaks into the track. As the video progresses, we see a man dressed as the devil going through his daily routine of intriguing activities. Meanwhile Tempah is somewhere dark, surrounded by thick, beautiful women who are shaking their assets to the track. Aside from it's main character, themes of sex, drugs and alcohol are at the forefront, causing some fans to question what they just watched.

English alternative rock band Muse have unleashed a brand new tour video for heavy-handed anthem, "Follow Me," the third single from their sixth studio effort, "The 2nd Law." Over the past decade, Muse, the self-serious English trio have emerged as one of the UK's biggest musical exports and throughout their career, it's always been clear that Muse aren't satisfied to just do the same thing over and over again.
Their latest "The 2nd Law" is no exception, and British mega-rockers continue to shake things up, diving deeper into the electronic rabbit hole as they experiment. While adding a dollop of reverb to "Follow Me" enhances the track's doom-sodden message of clinging to strength from a dark place. In the bronze position, the consolatory "Follow Me" piles on the rave dynamics and dubstep nods in another bow to the maximalist productions of the chart mainstream.
"Follow Me" contains a bit more electronic dance like synth tracks and influences from dubstep, and the instrumental elements from band's previous two studio albums. The song is about "having a baby and all that." Muse lead vocalist Matt Bellamy wrote this song about his baby son, Bingham, after his fiancée, actress Kate Hudson, gave birth to the child on July 9. The ode to fatherhood kicks off with a sample of Bingham's heartbeat, which Bellamy recorded on an iPhone just before he was born. "Follow Me" is 'Map Of The Problematique' reimagined as a love song with dubstep wobbles, and their excursions into dubstep and dance music on "Follow Me" feel more like remixes than original songs.
Consisting of live footage from Muse's smoky, multi-colored stage show, the clip gets off to a slow start, as Bellamy ambles through bland imagery before the three-piece blasts off into its patented hybrid of electronic blips and arena rock. The live concert setting amongst a laser light show and an overly enthusiastic crowd helps to capture the energy of the electro-driven song, which has techno-tinged choruses and even a couple of dubstep-alluding synth dives. The crowds soon follow suit, pulsating from the Sheer Importance of the song.

Kelly Rowland melts hearts and cranked up the heat in the scorching new promo for her seductive single, "Ice,"  her steamy collaboration with rapper Lil Wayne, served as the lead single from the R&B songstress' upcoming fourth solo LP, "Year of the Woman," is expected to be released in 2013. Her "Motivation" collaborator Wayne does not make an appearance in the video, so get chills by watching the Destiny's Child diva in action.
"Ice" is a slow midtempo R&B song, also considered "a melodic ballad," which features a thunderous beat, finger snaps and light synth riffs. The 31-year-old R&B diva melts the slow winding track with her flawless solid vocals delivery and uses a synth-driven and stripper-friendly beat to set the mood, letting the world know that her man's love is so good it gives her the chills. Lyrically, Rowland instructs her male lover on how to properly use an ice cube on her naked body and the unabashedly sexual lyrics that'll really fill your guilty pleasure quota for the evening.
Whilst Wayne obliges Rowland with his signature, punchline-heavy, and explicit rhymes that cools it down with his chilled flow and give "Ice"s cool attitude a little heat. Both Rowland and Wayne once again raising the room temperature when behind closed doors. This new song just might trump the pair's previous collaboration in the Sexy Department. Rowland's subdued lustfulness paired with Wayne's quirky appearance make for a single which probably should be bigger than what it is.
Directed by Matthew Rolston, the R&B siren and her leading man find themselves alone in an abandoned ice factory, as she flaunts her banging body and struts around in various stages of naked-ness as she croons the slow jam about passionate lovemaking, and her man's love being cold as ice. The couple then get intimate by rubbing each other's erogenous zones with cubes of ice. The sizzling visual also shows Rowland doing a sexy wall routine, and bust some erotic choreography along with back-up dancers in a puddle! Hot outfits, playful curls, and her diamond-encrusted lips mouth sultry come-ons. "It's a very, very sexy video,” said director Rolston.

Maroon 5 have dropped the soul-shatteringly sweet video project for their third "Overexposed" single "Daylight," and it's a doozy and isn't your typical band music video, because Maroon 5 asked their fans to contribute to its making resulting in a powerful nearly 10-minute-long motivational supercut of fan-submitted footage. The album title itself is further evidence that on this underwhelming record, the band are aiming to be a band whose music will be inescapable.
Co-written by frontman Adam Levine and Swedish hitmaker Max Martin, "Daylight" is a bittersweet tale of a lover who, for some reason, has to creep away in the morning. The slow-building, rousing anthem is about the difficulties of growing up and moving on. This uplifting is watery and uninteresting, a pop song walled in by clichéd optimistic meanderings and finds Maroon 5 in their soft rock wheelhouse, and show off their newfound melodic prowess, Levine's vocals has a Coldplay inspiration in the end of the chorus.
Lyrically, it's a simple song, with Levine singing that since his relationship is about to end, he wants to savor the last night with his special someone. Levine never explains exactly why he has to leave, but we can infer that trouble has been brewing for some time. "Daylight" doesn't blow us away immediately, but its endearingly bittersweet lyrics and catchy "whoa-oh" chants make this a song that will probably get better with each repeated listen.
While the song sends the message that you don't want to leave someone's side at the break of dawn, the Jonas Akerlund directed clip for "Daylight," like the title suggests, seeks to illuminate us all through song coupled with personal footage from these random fans and contributors from around the globe. Nowhere in it does it feature Levine and his band mates, aside from the audio track, but all from fans who sharing their own struggles, what's important to them, and expressing things they're thankful for and also what they hate. Fans singing along to the track, are the stars of this crowd-sourced clip.

Alicia Keys, is too busy finding myself and isn't compromising her self esteem anymore since she has had enough of you telling her what to do, finally debuted her brand new video for her heartfelt delicate R&B piano ballad, "Brand New Me," the second single from Keys' latest chart-topping LP, "Girl on Fire." We like Alicia Keys just the way she's always been, but if she wants to be a "Brand New Me" more power to her. The song is a graceful piano ballad of the sort we know and love from Keys.
Co-written by Emeli Sandé, this piano-driven power ballad finds Keys singing about the end of a journey where she is able to assert herself and leave behind the naysayers in her life. Keys told The BoomBox of the introspective ballad, "is about the journey it takes to get to a place where you are proud to be a new you," she explained. "There is nothing wrong with growing. There may be people in your life that knew you for a long time and they think of you only as the person you used to be and not the person you now are. And this song is a conversation introducing them to the new you. Where nothing can hold you back and no one can hold you down."
Unlike the bombastic "New Day" and the explosive title track, this latest song isn't an uptempo anthem, it's a quiet, tender soft ballad. It's like her autobiography, the triumphant song that Keys shows off her trills and her cocky attitude. It is lyrically one of her most powerful & inspirational songs to date, so be prepared to feel a boost of self-worth and intense inspiration with the sound of Keys' crisp, confident vocals. “Brand New Me” is the restrained type of pop song that's becoming harder to find amidst the deluge of hyper-processed vocals and pseudo-dubstep.
The Diane Martel-directed clip is another classy visual for Keys, who backstage singing the inspirational track to herself while staring in the mirror and then transforming into a new woman, as the 31-year-old R&B songstress embarks on her new journey, rid herself of all restricting instruments and back where she belongs: Right at her piano, and pours her heart out and frees herself from the past, even decided to liberate her hair, sporting impressively voluminous curls and all. It's to Keys' credit that she has the charisma and performing chops to pull off a video that rests solely on her slender shoulder.

Toby Keith, who earlier this year won the Country Music Association video of the year award, has released a black and white video to his latest single, "Hope On The Rocks,"  the second single and tile track from Oklahoma country music star's latest sixteenth studio album, which is a loud and sudsy collection of songs about beer, barrooms, heartbreak and beer. Much like a Saturday night out at your favorite watering hole, it's rowdy and fun, but difficult to remember the next morning.
Lyrically, "Hope on the Rocks," is a song about a town full of battered and almost broken spirits looking to recover at a neighborhood bar, shines on the album. It evolved during a visit to Keith's hunting and fishing ranch in southern Oklahoma in the fall of 2011. The track isn't just another drinking song, but it's about the solace people find in their local bar and tells the story of several people who are down on their luck. The story is told from the bartender's perspective. The ballad is reserved and poignant - two things that aren't repeated until late on the album. If you like good, old-fashioned sad country songs, you'll love this.
The 51-year-old is clearly no stranger to the bar scene, with country hits like "I Love This Bar," "Beers Ago" and "I Like Girls That Drink Beer." However, he's taken a different shot for his latest video, revolves around Keith portraying a compassionate bartender. "We're trying to make it as moody as possible. As dark and deep as possible. And all the characters are here," he told CMT. Directed by Keith's longtime collaborator Michael Salomon, and Keith plays the song's bartender protagonist and ably shepherds his flock of lost souls through life's low moments in their latest work.
As a bartender, Keith keeping his eye on patrons who have fallen on hard times and find solace in a glass and on the dancefloor, as each comes into the bar with some pretty serious problems weighing on their minds about their glory days on the baseball field, mourn losses in their lives and try to start over. As the video progresses, Keith tries to make their lives better for the night as he asks a woman to dance, he gives the drunk man coffee, and he gives the homeless woman food to eat. His kindness is able to bring them together, helping them find hope amongst their drinks on the rocks and brought joy into the lives of those who were sad.

The Killers' tour may be temporarily sidelined by Brandon Flowers' laryngitis, but they're certainly not suffering from a lack of exposure. The Las Vegas rock band follow their animated love story of "Miss Atomic Bomb" with the slightly creepier fare of "Here With Me," appears on The Killers' latest fourth studio album, "Battle Born." The American rock band clearly are trying to flush their video vaults before the new year, as they have spoiled us with their third music video release in two weeks.
Flowers penned this windswept cinematic ballad with the lead singer of Scottish band Travis, Fran Healy. The Killers frontman also penned three Battle Born tracks with producer Daniel Lanois, marking the first instances of someone other than a member of the group receiving a writing credit on a Killers studio album. "Here With Me" encapsulates the '80s tinged stadium rock vibe that permeates through "Battle Born," as the third single. A huge power ballad, made to be played live, "Here With Me" is one of album's anthems.
The video was filmed in Blackpool on a break in The Killers' recent U.K. arena tour, and re-teams legendary director Tim Burton and starring actress Winona Ryder, the pair, who worked together on the iconic film "Edward Scissorhands," for a tale of love, obsession and, naturally, insanity. Fans of old school Burton, who've grown tired of his more Disney flair, will no doubt revel over the throwback trademarks of wax mannequins and startling dark deco themes. Catch the clip and don’t let this chummy holiday season stop you from getting spooked. That clearly hasn't thwarted this director.
Inspired by the 1935 film, "Mad Love," this eerie clip features all of the expected dark, artistic Burton twists and sees director at his creepiest, most Gothic best, with a cruel twist in the last minute that elevates things to a whole new level of creepiness. While the rock band performing in an entirely empty, ostentatiously grand performance hall, and pale guy with bug eyes caught in a Mannequin-like romance. That is, he's in love with a wax Winona Ryder, which occasionally comes to life to love him back. As we learn in the end, mannequins are great to love because they can be your date at dinner and also your candle. Every story has a moral. Watch.

Matchbox Twenty released an real tearjerker video for their new swoon-worthy single, "Overjoyed," the second single taken from American pop rock band's latest fourth studio album, "North," and it debuted at No.1 on the U.S. Billboard 200 chart. A carousel and other carnival rides trigger memories in this sharp-looking video for Matchbox Twenty.

Matchbox Twenty have had a tough time in love in some of their songs, including most recent laed single, "She's So Mean," but with follow up single, "Overjoyed," there's nothing but sweet love going on, man, so don't go trying to stir up trouble. The mid-tempo ballad, is almost too good too true. Not only would lead singer Rob Thomas be glad to come over, as he sings, "I cannot overstate it, I would be overjoyed." And he's not just talking about for the night, he's talking about for a lifetime. He wants to tell you secrets that nobody knows, and hold you, and even give you a foot massage.
This could be a wedding song for years go come and the band knows it, but don't get it confused with the Stevie Wonder classic of the same name. It's a pure Matchbox Twenty original, with the distinctive Thomas touch. This song about finding love and joy, perhaps the rockers have left heartbreak behind for good on their latest album, and with a title like “Overjoyed”, you'd expect band's latest single to be riddled with an upbeat tempo and catchy pop hooks. Instead, Thomas and the gang go for a slower pace and a video that follows the path of a couple who meet in grade school, date, get married, start a family and grow old together.
Thomas' familiar alt-rock croon narrates the tale of a family in backwards time. Set at a carousel and other carnival rides trigger memories and showcases a couple that has been going there for many years, the BIG TV-directed clip begins with a married couple and their family, and moves in reverse to show the first meeting of the pair in elementary school as a young girl named Lucy putting on make-up to meet her boyfriend Sam. It then turns back around and moves forward to the present and showing them dating, getting wed and starting a family. It ends with the elderly man and woman dancing in their kitchen while playing a love song on the record player. Sappy but super sweet.

To celebrate her 23rd birthday, Taylor Swift unveiled her 23rd video on MTV channel to show the world her edgy side for the loopy break-up upbeat track, "I Knew You Were Trouble," the third promotional single from the Country-Pop songstress latest fourth studio album, "Red," which has already achieved multi-platinum status since it was released in October. The track offers more insight into her relationship with the bad boy, and the clip features a pink-haired Swift trying to pick up the pieces after bad boy has left her.
Inspired by the British band One Direction member Harry Styles, the dubstep-inspired bass breakdown "I Knew You Were Trouble," breaks the singer out of Nashville and touches on all genres of music with moments of straight-up Top 40 pop, country and even dance, with its grinding effects, especially on the bumping chorus. It's a peppy, uber-catchy pop, a far cry from traditional country, and its mainstream appeal yet noted Swift's experimentation with dubstep as relatively limited. Swift is try at dropping the bass ultimately gets absorbed into the artist's own aesthetic.
Musically, the way the song bounces around musical genres, was one of Swift's intentions. Speaking the song "is about not trusting your own instincts and ignoring all the red flags." Swift admitted to having gone into a relationship knowing it was the wrong thing to do. "It's a song that's one of my favorite songs on the album because it sounds just as chaotic as the feeling was when I wrote it. It's a song about kind of being frustrated with yourself because you have your heart broken and you knew when you first saw that person you saw all these red flags and you just went for it anyway," she explained. "So, shame on me."
Filmed in Los Angeles by Anthony Mandler, the dark-themed clip is looking distinctively different from the country music sweetheart's previous music videos. It find grimy-looking Swift either passed out or sleeping on the ground in the middle of a field covered with trash, likely after a party. She looks around her, confused and incredulous at where she has landed. She slowly stands up as black and white clips of her fans cheering at a concert cuts in and out. The edgy video then follows her really toxic relationship with 'Spider-Man' star Reeve Carney as her co-star, and it definitely delves depths she's never explored before.

Swedish electro-pop duo Icona Pop continues their quest for global domination with their new video for the incredibly catchy latest single, "We Got The World." Although the duo has yet to release a full-length album in North America, the video comes on the heels of the release of their debut self-titled LP in Sweden, and features Caroline Hjelt and Aino Jawo, the duo behind Swede club, doing what they do best: slaying crowds, partying, larking around and raging hard.
Icona Pop really really like to party and make feel-good club beats with electro house music, punk and indie pop influences. While it seemed like they couldn't get any more poppy with their feel-good anthems, they've pushed that sugary sound even further into the red with some of the most popped out anthems of the past couple of years. Being in a band is a lot of work but it can also be a lot of fun. If you were to look for an analogue for where Icona Pop fits into the music world, you'd probably start with Robyn, but with a certain X-Factor that places them on the cool-kid side of the cafeteria.
"We Got The World," is an uptempo dance track with pummeling house beats that has shades of Calvin Harris, plus Robyn at her most euphorically carefree. The girls sing over a coruscating house track. It's an explosive creddy pop single knock you over the head confection has a strong dash of EDM that shows why these Swedes are one of the most hotly tipped new groups of the year. Icona Pop don't suffer from the inherent strain and tedious nature of life on the road in their new clip, if anything, they have the most when they're not rockin' out.
Documenting their touring life, the Fredrik Etoall-directed clip dials up both sides of the pop/punk-rock dialectic to 11, and has Icona Pop seizing the day like the lyrics promise all over the place: crashing in hotels, making out with strangers at a burlesque club, spin in front of huge crowds and, riding topless through the desert, and looking too hip for life, you name it, they're doing it. If there's anything we can take away from this video, it's that Icona Pop's touring life is just as loud, catchy, stylish, fast-paced, and naked as their music would indicate. Enjoy the pair's wild ways when you watch below.

Taking aim at the hyper-sexualized culture of youth in America today, Skylar Grey has released a pretty funny sarcastic visual for her just-released catchy single, "C'mon Let Me Ride," the lead single from Grey's upcoming major-label debut album, "Don't Look Down," which rapper Eminem executive produced and scheduled to drop next spring. It looks like an old school Eminem video, which is fitting considering he makes a guest appearance on his trusty bicycle with all the zaniness going on.
The colorful and quirky "C'mon Let Me Ride," is a girl's plea for her crush to let her ride his bicycle. Only this boy and his two-wheel choice of transportation lives in the trailer park. Grey's grunge, edgy vibe causes her to stick out like a sore thumb from the other girls in the neighborhood with their faux tans and skimpy bikinis. Since Grey sings about wanting to ride a man's bicycle, the video also features several customized bicycles. Climbing on top of her crush makes him think she wants to seduce him, and she does, according to the lyrics. Instead she takes the cash. Chicks in bikinis continue to run through the 'hood.
Eminem has certainly mastered the art of parody and Grey takes a chapter from his book with visuals that are intended to poke fun at America's overly sexualized society and beyond. As she serves up some revenge and turns up the jokes in this trailer park-inspired clip. That sarcasm comes through pretty song as the video shows a scene of her playing Dr. Grey, a shady plastic surgeon whose results are only slightly exaggerated from what can be seen around Hollywood. To get her man's eyes off the models in his magazines, Grey offers them free tans that turn them orange and plastic surgery that results in face transplants that she conducts, ever so delicately, with a chainsaw.
As for Eminem, who brings high-wattage star power, drops a guest rap and the auto-tuned refrain from Queen's 1978 song "Bicycle Race," and trying to pedal away on his lowrider tricycle that's attached to a packed kiddie pool. Grey simply laughed at its absurdity. She explains to MTV News, "I'm poking fun at the overtly sexualized aspect of everything in this world today. The video is a combined effort between director Isaac Rentz, me and Eminem, and we just wanted to make sure it was very clear that it's a sarcastic song."

Following her performance at London's O2 Arena this past weekend for the Jingle Bell Ball, and overlooks the recent Twitter slander, Rita Ora hasn't it let slow up her pace with the release of her new sci-fi-inspired promo in visual-form for her fierce song, "Radioactive," third US single, and fourth overall from her debut album, "ORA," to be released in the US in early 2013. Well that's one way to draw attention away from her personal life.
Despite having notched up three consecutive UK No.1's, the 22-year-old Roc Nation star shows no signs of slowing with the push for her debut LP "ORA." While Ora is yet to confirm or deny the accusations, the singer recently said she understands the interest in her personal life as it comes with the job. "If you want to do my job, you have to suck it up, because it goes hand-in-hand with what you're doing. At the end of the day, the media are helping you - they're what you need," the songstress explained.
The record title represents more than just the singer's last name, as it also means "time" in her country of birth, Kosovo, and it took Ora a long time to get the LP completed. "The name of the album made sense because it's taken two and a half years to record," she said. Like Guetta-style dancefloor mode, the upbeat tempo of the track "Radioactive," is matched with an equally fetching promo, which sees the blonde Brit heads to different galaxies and turns into a robotic femme fatale and dwells in a futuristic wasteland surrounded by people in gas masks.
Ora goes "Radioactive" and shows off an array of colorful and eye-catching costumes throughout and even has her face attached to a robotic headpiece during one scene. She's unfazed by the harsh conditions though, as she sings about unity in the Syndrome-directed outer-space themed clip. The intense animation and graphics give a 3D feel as the British pop star takes you into her world of mind-blowing robotics and futuristic fashions. So put your palms to the sky and rock with Ora.

David Guetta has revealed the new Sci-Fi visual for his smash banger, "Just One Last Time," which was released as the second single and ninth single overall from 45-year-ild French superstar deejay's latest compilation of works, "Nothing but the Beat, 2.0," a re-release of his fifth studio album, "Nothing But The Beat," featuring six new tracks, including previous single, "She Wolf (Falling To Pieces)." It will be given an official release on New Year's Eve.
Guetta never stops and he has created timeless house and dance tracks that didn't need to be riddled with crappy rhymes. The trailblazing Frenchmen, who recently nabbed the first-ever American Music Award for EDM, has an exasperated new video for his haunting balled-anthem cut, "Just One Last Time," features vocals from Swedish alternative pop duo Taped Rai, and marks duo's debut release into the international market.
Filmed in Los Angeles by director Colin Tilley, the accompanying music video for for "Just One Last Time" is on fire, literally! Along with a touching love story as this intense and emotional rescue mission unfolds. The video begins with a man entering a bedroom. On the bed there is a burned note which reads, "Without your love I would die." He lays down in bed and a machine plugs into his head which causes him to go back in time. He wakes up in the same bed, but instead of being alone his girlfriend is sleeping next to him.
He sneaking out of house to go and play a game of shoot pool with Guetta at the pool hall, before he gets a call and learned that the house is on fire. The girlfriend that he left at home asleep remains in the inferno, and so Guetta drives him rush back home and he runs into the burning house to find his girlfriend, who is still in their bedroom. He picks her up and jumps out the window. After the fall, she survives but he gets killed in the process. The video is perfect for such an upbeat song and it even has Guetta spinning at this super cool deck, while flames are rising behind him. The cinematography and the effects on this video are on point.

Known for her more fantasy-driven visuals, the Estonian pop singer Kerli takes a different turn with a contemporary look for her latest up-tempo yet heartfelt song, “The Lucky Ones.” The inspirational dance jam will serve as the lead single from her upcoming sophomore studio album, "Utopia," dropping in 2013. The 25-year-old fashion forward songstress has said that her new album would celebrate life's light and dark sides.
Kerli's best known for combining pop, dance, elements of goth, and electronic music, and her latest track is no different, adding yet another irresistible song to her "Bubblegoth" genre. "The Lucky Ones" is an electropop song, and its synthesizer influenced production contains electronic dance and trance beats, and the song proved a fitting bridge for a truly visionary presence on the trendsetting side of pop. The song's lyrics were inspired by a friend of Kerli's miraculously finding the cure and overcoming his cancer and encourage people to be thankful for what they have in life.
"The message of the song is for us to never ever forget that we are the lucky ones. That fact that we get to sit here right now and be healthy. It's definitely the most meaning song I've ever written," Kerli said in a live chat back in September. "The Lucky Ones" takes a page out of Kerli's underground anthem "Zero Gravity" book, charging forward with pumping electro dance synths and trance-like beats. But while the high-octane vibe may be out of this world, Kerli's heartfelt lyrics and powerfully belts bring the song down to Earth.
It's a celebration of life, love and living in the moment. Accordingly, Kerli is acid, grunge, early 90's inspired in the moment more than ever in her new promo, which was directed by Ethan Chancer. The clip portrays the colorful singer in black and white with slow-motion close-ups of her face as she dancing and walking down the streets of Los Angeles, running her hand against a wall while singing the song, mixed with clips of speeding traffic that emphasize the hyper energy of the song. Apparently, Kerli wanted to give her fans something more gritty and real this time that hopefully inspires them the way they have inspired her.

Sometimes you have to break free from the bounds of dysfunctional love to feel liberated and in control of your life once more! As a melancholic Leona Lewis finds her inner-spirit while imprisoned in a birdcage with the stunning new visual for "Lovebird," the second single pulled from her critically acclaimed third emotional LP, "Glassheart," which has yet to be released in the United States. Unsurprisingly the 27-year-old complete with her trademark long ponytail the X Factor winner looks positively at home in the virtual prison.
After a host of dance-infused upbeat numbers, Lewis has gone back to her familiar territory roots with this big power ballad, "Lovebird," which allows her to show off her vocal range to full effect. While it's not the most inspiring or original effort you'll hear this year, it should certainly please the singer's fans. Full of pleading looks, colorful outfits and, perhaps unsurprisingly, dark moody lights and a bird cage, Lewis' latest offering is a sweet midtempo ballad which starts off with a organ-based introduction, similar to that used in Lewis' debut single "Bleeding Love," and is then layered with piano melodies in the chorus which critics compared to those used in her single "Better in Time."
What a catchy, passionate ballad, and it's the perfect tune to blast when feeling stuck or suffocated in a relationship. Although perhaps not an advert for feminism Lewis looks classically beautiful, the British diva looks positively mournful in an ivory sleeved dress and floats in a wrapped ensemble as she finds the strength and courage to set herself free. It gave the video a definite dark side, which suited the "Bleeding Love" singer down to a tee. The liberated flying bird was predictable but it nicely cemented the concept.
Given that the title of the song is "Lovebird," there's a metaphorical theme to this video as Lewis, clad in a long flowing dress and ruffled cape, is seen singing inside a giant cage in a large shadowy room. It's not all doom and gloom though since the caged monochromatic Lewis is intercut with shots of the singer in a bright pink floaty number and jeweled eye decorations. This goes on for quite some time until the Lewis in the cage realizes she isn’t locked in after all, and makes her bid for freedom as a dove soars into the air. All very meaningful, we're sure.

Girls Aloud get seriously up-close-and-personal and bare their vulnerable sides in the stripped back seductive video for their emotionally-charged new single, "Beautiful 'Cause You Love Me," which follows hot on the heels of their lead comeback single "Something New" from their greatest hits collection, "Ten." Unlike their previous release which launched their 10 year reunion with a bang, this video takes an all natural approach pushing glitz and glam to one side in favor of nearly naked outfits, barely there make up and bath time singing.
So with Christmas approaching, Girls Aloud have decided to slow things down for their next single with a romantic emotional ballad with the empowering message behind it. Ballads were never why people loved Girls Aloud. This group's legend was built on dizzyingly complicated prog-pop bangers, which pushed the envelope of what a pop song could achieve, blowing fluoro-pink gum bubbles as they went. The gals have clearly been a bit clever with this one and appealing to our need for a big ballad, they've combined some awesome, soaring vocals with a video that involves everything necessary to get us well away on the festive bandwagon.
The "Something Kinda Ooh" hitmakers, who have reunited to celebrate their tenth anniversary, look elegant dressed in white gowns as they pose in white gowns and mime the elegantly-charged lyrics to their brand spanking new ballad, and the ladies do look breathtakingly stunning. Incidentally, it could be argued that Girls Aloud are beautiful 'cause of unfair genetics and the aforementioned nude lipstick, but that doesn't sound quite so catchy. So we understand why they went with a romantic angle instead, despite their fast-paced tracks tend to sell better than their ballads traditionally.
In bed and the bath with Girls Aloud. The English-Irish belles get all steamed up and dressed in next-to-nothing in sexy new clip, which was filmed in a big ol' mansion in West London. The song's musical visuals are just as soft, romantic, and gorgeous as the tune itself! The promo sees each of these lovely ladies roll around in between the finest silk sheets and a bath, posing in a series of artistic close-ups as seductively as they possibly can, until they are brought together to drape themselves across a lounge chair in a desolate house, and sing the touching words to the ballad.

The Band Perry broke through with "If I Die Young" and now they return with a brand new video for their latest tune, "Better Dig Two," the lead single from the breakout country trio's upcoming much-anticipated follow up sophomore album, which is due out in early 2013. Another song which deals with 'death' in a sonically interesting way. It's great to hear the Perry siblings tweaking their formula, and it definitely raises anticipation for what surprises they might have in store for their second album outing.
The obsessive love song, was originally demoed by Kacey Musgraves, finds Kimberley Perry singing of her undying love for her spouse, and vow that she won't carry on should their union end in death or divorce. The overall tone of the song is one not of romance, but of desperation. The lyrics are spiced up with a few clever turns of phrase, but they could potentially have benefited from added specificity, as it's unclear why she sounds so fearful of the union coming to a heartbreaking end.
The siblings spoke to on-air personalities about the tune, calling it "the ultimate love song, the kind of love not even death can separate." Cast in the shadow of the dark and stormy production and the gesture isn't sweet and romantic, but sort of unnerving. It's an ambitious effort, but not quite as airtight as one would hope. "Better Dig Two," sports a cool and slightly eerie sound that makes it oddly addictive - a feeling that is nicely enhanced by low banjo plucking, leading up to a searing fiddle solo in the song's bridge.
Filmed in Nashville, the Declan Whitebloom-directed clip is a dark look at a couples love and death. It largely takes place in an ominous forest, where a newlywed couple is walking through the fog in their wedding attire. Eventually, the couple arrives at a reception site, where guests are toasting wine, and eating a feast, but it quickly becomes obvious that the gorgeous spread is defiled by worms and insects. It ends with the bride is digging a grave and running through the woods. Although it's just implied, it seems like this ceremony wasn't actually a wedding, but, rather, a funeral.

Ke$ha has premiered an interrogation for "Warrior," a really fun and amazing project she's prepared for the promotion of her just-released sophomore studio album. The singer is held in a jail cell and moved to an interview room, and is interrogated by the Metropolitan Police over her new album "Warrior" in a new promotional clip, as she confirms that her mother is "an alien" and her father is Alice Cooper when asked by a British policeman. Ke$ha later adds that she can "speak dinosaur" and that she "eats glitter" on a daily basis.
Having successful debut album, the self-styled bad girl Ke$ha has decided not to fix what ain't broke. When you need someone to rhyme "saber-toothed tiger" with "warm Budweiser," you know who to call. Thematically, "Warrior," incorporated rock genres and inspired from the music of the 1970s, is intended to be more personal than her previous albums with an overall theme of "magic." As the singer elaborated the album's underlying theme stems around embracing a person's inner warrior.
"I got hypnotized, and I just really wanted this record to be really positive, really raw, really vulnerable and about the magic of life," Ke$ha said. Taken as a whole, this is another surprisingly enjoyable album from a pop singer who has managed to broaden her approach without losing her unique selling point. "Warrior" is the most fully-realized and cohesive pop album since Katy Perry's "Teenage Dream," or Lady Gaga's "The Fame Monster." The difference is that this musical journey feels more authentic. Unlike those fabulous divas, Ke$ha isn't playing a character or channeling an alter-ego. This is her demented diary set to music.
In her recent autobiography, the 25 year-old Nashville native writes about the intense pressure of following up her massively successful debut album. The glitter queen lifted her game and invented her own genre and makes the transformation from electro-pop diva to intergalactic wild child with jaw-dropping ease. "Warrior," is a non-stop aural assault of fresh ideas and new sounds that document the singer's journey from being L.A.'s self-confessed worst waitress to chart-conquering pop titan.

Gavin DeGraw is honoring everyday heroes in the new music video for his love-as-a-battlefield anthem, "Soldier," the third single from his remarkable latest fourth studio album, "Sweeter," which is more radio-ready, heart-on-the sleeve pop that is pleasant enough but feels too inconsequential for an artist four records into his career. The video builds to a climax as the group gathers for a silent march with candles in hand with the meaningful message.
DeGraw definitely has a female-friendly reputation as a lover, not a fighter. But he's got more moxie than his image might suggest. The 35-year-old acclaimed pop-rock and adult contemporary musician is an excellent singer, with a hint of grit in his tenor that tips power ballads like "Soldier" toward soul music. The devoted love anthem was described by DeGraw as a "really beautiful sentiment." This potential wedding song finds DeGraw promising his girl everlasting love, and when she needs someone he'll always be there fighting for her. "Soldier" sounds just a little too tailor-made to serenade tuxes and gowns with its promises of eternal protection.
DeGraw does make further attempts at breaking away from his constrained, melodic pop rock other than the album's title track. "Soldier" is a soulful, rousing number that really shows off the dexterity of DeGraw's vocals, simply relying on a clapping beat and the ever present piano. It is by no means a drastic departure, but it is evidence of DeGraw approaching his sound with more thought than ever before. The racier moments are balanced out by more emotionally transparent songs like the uplifting "Soldier." which convey vulnerability while still managing to feel distinctly masculine.
Despite its title, DeGraw's "Soldier" is not about war, but instead deals with going the extra mile to help someone you love. The Carl Diebold-directed video picks up on that theme by shining the spotlight on regular folks doing heroic things for people in need. DeGraw is seen playing piano in the rain and singing, "When you get worried, I'll be your soldier," but the focus is on the cast of heroes. Among those featured are a few extraordinary yet incredibly regular people who are leading by example. They're fire fighters, people caring for ill family members and school teachers - the soldiers you sometimes forget to thank but DeGraw is making sure you remember their good deeds.

The re-invention of Kate Nash continues apace. Taking a step back last year, Nash began focusing on new ways of making music. Gradually becoming more aware of Feminism and the legacy of Riot Grrrl, the 25-year-old British songstress  is back and she's wilder and crazier than ever, as strayed a long way from her sugary pop roots and debuted her new direction earlier this year, and now she's gone full-blown indie pop with her new video for the titular cut, "Death Proof," the lead single and title track from her most recent venture and fresh five-track EP.
Nash' new EP is an upbeat, snarky attitude and blunt lyrics are still there, but something raw and melancholy underlies. Each track is a step along the path of heartache, following her trail of loneliness after escaping a bad relationship that was driving her into the ground. The diverse range in this small collection demonstrates heavy experimentation outside of her British pop genre. It also finds Nash embracing an entirely new mode, her piano having been replaced for the time being by a bass guitar.
"Death Proof," a song metaphorically about heartache, is a complete 180, exchanging catchy pop hooks for a new rawer 'rock n roll' sound with a fun garage punk sound with a heavy bass riff leads back up to Nash' scratchy voice. This is about walking away from a situation with as little damage as possible. In every relationship, we leave behind a piece of our heart, but the trick is getting out of it before we lose everything, because who has time for that? The song mixes urgent bass and minimal surf licks with a tuneful chorus that could have been ripped straight out of the K Records or Slumberland catalogs.
As for the new Aram Rappaport-directed clip, inspired by Quentin Tarantino's signature aesthetic film, Nash fuses vintage imagery with circus grandeur and sideshow novelty, performs in a flashy outfit while surrounded by different entertainers, and gets a little brash and bloody in the medical tent. "I wanted 'Death Proof' to have a Tarantino feel," Nash explained. "But I also love this movie called Freaks so a lot of the inspiration came from that as well: old Bettie Page pictures, traveling circus people, and freak shows."