Today's Pick

Taylor Swift has one boring day at work but ends in the best way possible in the video for the country songbird's latest single, "Ours," and it's a thoroughly adorable clip that fits perfectly among Swift's other crushingly cute videos. The 2011 Billboard Woman of the Year honoree survives the day only because she's looking forward to coming home and welcoming back her "distant love," who happened to be away serving in the military.
The tune serves as the sixth offering from her multiplatinum-selling album "Speak Now," "Ours" was solely written by Swift as a love letter and as being in love and knowing that they can make it through the rough times. The song finds Swift in a relationship of which others do not approve. She reassures her beau that despite the criticism they are getting, she loves him. It's a pretty, slower tempo song that showcases Swift's strengths, which are her inviting, open journal lyrics and that sweet voice. Swift saved the best for last.
Directed by Declan Whitebloom, the video features the soon-to-be 22-year-old out of princess mode, plays herself as a bored corporate drone sleepwalking through an average day: awkwardly riding the elevator, and dealing with the average frustrations like an out-of-order copy machine and cliquey girls in the break room, until she's reminded that there's always a special someone she can count on. Admittedly, she looks more flawless and glowing than any office worker we've ever seen, but we'll cut her a break.
Everything that can go wrong does. It's not her day, nor is it her life. Throughout the clip, the only thing keeping Swift sane is dreaming about her absent boyfriend, who makes a return by the song's end. "I had a very definitive idea of what I wanted this video to be," Swift told E! News. The overarching theme of the "Ours" video is that deep down, we're all looking to connect with people, be it on the surface, in a fleeting moment or something deeper. It makes you think about engaging in conversation with that guy you ignore in the elevator every morning or making eye contact with that person on the bus and sharing a smile. It's a really lovely, little video that captures the nice nature of the song. It’s those quiet ones you have to watch.

Lady Gaga has a reputation to uphold, so when she releases a self-directed 14-minute autobiographical video she really has to bring the crazy. "Marry The Night" doesn't disappoint! The opus features the 25-year-old pop star at her most gloriously provocative, with extended dance sequences, explosions, nudity, and a violent attack on a box of Honey Nut Cheerios. While the clip is an homage to her pre-fame roots, the song is also a tribute to the Big Apple.
As the fifth single from her latest album "Born This Way," "Marry the Night" is a dance-pop song influenced by house and electropop. The electro-thumping number with euphoric synths and uplifting melody was inspired by the energy of Gaga's previous song "Dance in the Dark" and features electronic church bells, a driving electro organ sound and a funk-rock influenced breakdown. The lyrics are about Gaga's love of the night and partying, while serving as a homage to her hometown, New York City.
"'Marry the Night' is about marrying your obstacles and the challenges that you face to become great or to live your dreams," Gaga gave more detail about her favorite song on the album, "It's about committing yourself wholeheartedly to the thing you're most passionate about. For me, it was always music. It's about that moment when I decided I was going to tear it up, that I was going to get married to my work, and that my work would be my husband forever. There was no fire and no rain that could get in the way."
Gaga is nothing if not a storyteller. And this particular musical yarn may be her best yet. At the very least, it's her most personal. "Put 'Born This Way' back in the vessel, for rebirth, as I lay in mine. When too strong to divorce, then buckle up, MARRY THE NIGHT." Intense though the video is, it isn't without its levity. "I always believe that you walk the line of humor if you're being so incredibly serious," she explained. "There's something quite comical about the opening of the video, even though it's quite sinister and dark." And that the video itself serves as a window into the heart and mind of Gaga.

Time to spread that holiday love! Honor Society encourage their devotees to give back to the community in a newly premiered Micah Weisberg-directed music video for their latest holiday tune "Spread the Love." The four-piece band have enlisted some fans and teamed up with the Salvation Army and they wonder the streets and parks and spreads papper-cuts in heart shapes to people passing by, to show the fans what they could do to help others.
The boys, who recently released their second mini album "A Tale of Risky Business (EP)." The band's backing vocals and drums Alexander Noyes shared in a statement, "We wanted our new album, 'A Tale of Risky Business: Part 2' to inspire change, both musically and socially, and to encourage the next generation of philanthropists. We are so fortunate to have this opportunity and to support the important work being done by The Salvation Army."
In the spirit of holiday, Noyes and his bandmates inspire others to help community members in need. The lead vocals Michael Bruno added, "It's been such a life changing experience working with the Salvation Army and we're ready to be out on the road, playing concerts, encouraging our amazing fan base to get in the spirit of giving and to be part of this iconic Salvation Army tradition."
Honor Society joined forces with the Salvation Army many times before, as they appeared on band's 2009 music video for holiday song "White Christmas" and in 2010, the band helped the non-profit organization to raise fund in an inaugural Rock the Red Kettle Concert. This year, the band headline Salvation Army Rock The Red Kettle Tour. Honor Society gathers in a vacant theater and everyone was asked to bring paper hearts in their new music video for "Spread The Love."

Los Angeles-based indie roots duo honeyhoney has teamed up with FILTER to unveil the music video for "Turn That Finger Around" off their new sophomore full-length effort, "Billy Jack," primarily produced by Raymond Richards, finds twenty-something musicians Suzanne Santo and Ben Jaffe threading sweet melodies with big acoustic guitar sounds, percussive banjos and countrified fiddles. It's strong both lyrically and musically and one that both my bluegrass friends and indie rock friends could get into.
Baby mamas, shotgun weddings and good advice from a cool roots band, honeyhoney is the jazzy, twangy, rollicking collaboration between vocalist Santo and guitarist Jaffe. The two began holding informal songwriting sessions and soon discovered a musical partnership. Adopting the name honeyhoney, which Santo says Jaffe came up with, but once it was set, he said it "sounded like a 60's girls group and that people were going to think he was a pansy." Santo liked it because it reminded her of the South and the way she talked to folks while she waitressed at an L.A. BBQ joint.
"It's a song about the difficulty of living with someone who points the finger, but forgets their own past." The song great... it's not my favorite on the album, but I like the authenticity of it. It's a song that a lot of girls I know could have written," Santo said about "Turn That Finger Around." The song pretty much had us at the hello of the first 12 bars, even before a word had been sung or the track had really dug in. Call it intuition, but we sort of felt that something great was coming. We were right. It both shimmies and shimmers with some revved up alt-country sturm and twang as Santos' vocals ride the steel strings with both insistence and soulfulness.
The music video for "Turn That Finger Around" has a number of great subtle elements, from the soft tone on such a heavy-topic track, to the almost familiar countryside. honeyhoney sings about some daunting life changes for a young couple in this track. The up-and-coming band duo, backed by the crack rhythm section of bassist Pat Taylor and drummer Gerry Porter ripped through barn stompers, Santo and Jaffe turned in some smoky harmonies on "Turn That Finger Around," the alt-country tone of the song really showcases such a story.

Florence + the Machine have unveiled a dark music video this past Friday, for "No Light No Light," the second single from English indie rock band's new sophomore effort "Ceremonials." The frontwoman Florence Welch and her band have landed themselves in hot water after allegations their latest video promotes racial stereotypes and demonizes a religion, The music criticism from around the blogosphere debate over suggestions that it has a racist subtext.
"No Light, No Light" was the first song penned by Welch and Isabella Summers for the album during the tour in Amsterdam. The song begins with lyrics talking about fighting with snakes, and it was one of the songs where Welch sets aside her usual flighty, dreamy, gothy lyrical go-to's ghosts, graveyards, devils, angels, myths, drowning for something a bit more personal. Musically, the song exudes utter strength; lyrically, Welch is on her knees.
Backed by a live choir, Welch showed off her vocal prowess as she rocked out to "No Light, No Light" and she told NME: "Most of my influences have been male singers and the people I grew up watching perform were all these garage punk bands who went to Camberwell Art College with male singers who were almost trying to exorcise the audience. So when I write songs like 'No Light, No Light', I'm thinking about the rhythm and the chant and the aggression rather than the melodic mellifluousness of it."
The video, directed by Iceland-based duo Arni & Kinski, seems suggested a flirtation with dark magic, but any fascination Welch has with the occult is no longer the stuff of Manor Party games. There's some seriously life-threatening juju going on and as we watch Welch belt out the song from a skyscraper's rooftop, while elsewhere - perhaps far out of the range of her cannon-blast voice - a man painted black is convulsing through the steps of a voodoo ritual. The clip touches on the fine line between spiritual ecstasy and reckless abandon, is exploring a territory between Christianity and voodoo spirituality. It does not shy away from matching the music's melodramatic intensity.

Slow Moving Millie has revealed the music video for her cover version of The Smiths 1984 classic B-Side "Please, Please, Please, Let Me Get What I Want," as a Digital download from her upcoming debut studio album "Renditions," is due for December 12th. The song that illustrates a melody and dynamics that make Slow Moving Millie shine. As part of an amazing album, "Please Please Please Let Me Get What I Want" lyrics will satisfy your music cravings, was also elected to be the theme song to this year's John Lewis Christmas Commercial.
At age 29, the London-born singer - real name Amelia Warner, is known as Slow Moving Millie, a name friends gave her because she took so long to get her music career started. She predictably, loves the Christmas advertisements. "It's really simple, quiet and restrained. At this time of year everything is so shiny and loud and bright, and everything on television is just wacked up to this kind of screechy, crazy hysteria. It's nice to have a little serenity."
Only seconds into the song, you immediately realize why the song was chosen - Warner's delicate voice is delicate, soft, and moving as it dances upon the gentle piano notes. She takes an already familiar favorite and transforms it into something timeless and beautiful. Another thing to add to her list of feats? She now resides in Confusion's heart, between Lindsay Lohan and Lykke Li. That screenshot above is the moment Con knew he loved her.
"I haven't been spat at by Smiths fans in the street," smiles the beautiful and demure Warner. Covering such a classic song isn't easy, especially one that has been covered so extensively over the years. Warner's take modernizes the song with soft piano that compliments her quiet tone. The video is shot outside during the strikingly appropriate season of fall, which makes the song resonate even more. While it doesn't take huge leaps from the original in terms of instrumentals, the female vocals almost make one forget that the song ever belonged to Morrissey.

Since announcing her pregnancy this fall, Beyoncé has shot out new videos quicker than you can count to four. She just debuted another sultry music video for her latest single "Dance For You," a bonus track off her latest album, "4." It will be the eighth video featured in the deluxe edition of her "Live at Roseland: The Elements of 4" DVD special anthology, which includes footage from live shows and interviews, out November 29, a week after its standard package was released.
"Dance for You" is a sensual number in which Beyoncé sexifies her vocals over echoing drum patterns and a lap-dance theme. Its clip is a detective style noir shot in black and white with lots of dancing around and on chairs with moves you'll recognize from club girls whose feet hurt and need to sit but just can't stop grooving. Filmed over the course of four nights at New York City's historic Roseland Ballroom, the video features the mom-to-be's road to success. If there's one thing we know for sure, it's that Beyoncé loves to dance for you, and the new "Dance for You" video is no exception.
It's a rainy night as Beyoncé enters her film-noir-style "Dance For You" video. Outside, a siren wails like a tired baby. And like any femme fatale in those old flicks, Beyoncé's nothing but trouble from the minute she walks through the door. Starring as a screen siren in distress, Beyoncé opens the steamy clip with a visit to a man's office in homage to what appears to be classic detective or private investigator shows. Beyoncé's got something to show him. Not clues, not evidence. She's there to show how very much she appreciates him (as the lyrics), by giving him an extended private dance.
As Beyoncé videos go, "Dance For You" doesn't compare to the spectacle of say, the "Run The World (Girls)" clip, but it is effective. Under a single light in his office, she shows off her sexy moves in front of the man she sets her eyes on. It's a mostly private dance until all those other ladies show up. Beyoncé unveils a line-up of backup all-female dancers, with an additional string section. At the end, the detective looks somewhere between completely unimpressed and totally satisfied. What about you?