best of 2015: music videos

super 8 vscothe year’s end is upon us yet again, and today begins the rapid succession of accolades doled out to various media.  things will be a little different here at the dimestore this year; in accordance to our removal of ratings at the end of individual album reviews, nothing will be ranked on any our year-end lists.  instead, each candidate will appear in alphabetical order.  if you are truly curious about this site’s absolute favorite album, ep, song, or music video from this year, inquire within.

up first in the schedule are our five favorite music videos of 2015, unintentionally – but perhaps tellingly – skewed towards hip-hop and pop.  read on.

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disclosure – “magnets (ft. lorde)”

though caracal as a whole sailed by as a mere blip on our radar, it was impossible to ignore a strong byproduct of that record: the duo’s collaboration with lorde on “magnets.”  the lawrence brothers may have ceded some of their production grandeur to accommodate lorde’s more minimalist aesthetic, but the track stuck, perhaps the only one that will endure from a shoulder-shrug of a sophomore effort.

the video for “magnets” delves deeper.  on the surface, it’s an eerie, (yet again) lynch-indebted exploration of debauchery and infidelity, though these basic lusts soon prove to be an underlying condition of a much more serious problem.  lorde the artistic persona is also largely absent from the plot, only usurping ella o’connor in the video’s final seconds to play the role of vigilante.

heems – “sometimes”

more on eat pray thug as a cohesive unit in a few days.  the video for the album’s lead single, “sometimes,” plays out like a late-night sketch comedy segment, and appropriately so: two of its main characters are eric andre and hannibal buress.  at the center of it all is himanshu suri himself, holding down the role of a sleazy infomercial salesman peddling a skin-whitening paste.  the narrative is funny enough (heems’ sidekick and test subject wins for best dance moves) and attains peak irony by its end, but “sometimes” more soberly hints at the pressures of assimilation and code-switching discussed at length throughout eat pray thug.

run the jewels & zack de la rocha – “close your eyes (and count to fuck)”

perhaps the year’s most visceral music video was the one accompanying “close your eyes (and count to fuck).”  plucked from the lauded rtj2, the clip for “close your eyes” follows the physical struggle between a young, unarmed black man (keith stanfield) and a white male police officer (shea whigham), one that’s a clear analog to the on-going racial profiling and police brutality that has plagued african-american communities for decades.  both parties are exhausted before the video even begins, and the unresolved tension at its end extends the notion that these encounters are tragic cogs in an irreparable machine.

taylor swift – “bad blood (ft. kendrick lamar)”

the album version of “bad blood” was defined by an anthemic pre-chorus and chorus yet hindered by subpar verses, so why not let kendrick lamar hop on the beat for its radio edit?  very few music videos are ever blockbuster events, but “bad blood” sure felt like one, with a big enough budget for both kill bill theatrics and a high-profile cast featuring nearly every single one of swift’s female contemporaries.  bonus points to director joseph kahn for utilizing the track’s fantastically emo bridge to set up the clip’s explosive climax.

vince staples – “señorita”

a tattooed messiah leads his congregation through the streets of a walled-off neighborhood in the video for “señorita.” one by one, followers are picked off by automated turrets while their leader is spared a similar end, ostensibly due to his faithful repetition of the song’s dystopian hook.  vince staples, meanwhile, circumnavigates this fate through his musical talents, though his dependence on armed security to perform robs him of an autonomy so often dependent on skin color.

staples is a realist, providing blunt commentary on the day-to-day life in his hometown of long beach, california.  whether or not the neighborhood depicted in “señorita” is meant to represent his own, it’s still incredibly unnerving to see the plight of an entire community ultimately distilled into the viewing pleasure of white america.

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best of 2014: music videos

as the years tick by, the music video seems to become an increasingly insignificant form of consumption.  though youtube is a powerful streaming source, lyric videos and static images accompanied by audio have largely become the norm.  amidst the changing landscape lies a handful of artists (check the output of honorable mentions fka twigs and perfume genius for further examples of consistently stunning work) and videographers still dedicated to enhanced storytelling through visual representation; we’ve compiled our five favorite offerings of 2014 below.

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5. lorde – “yellow flicker beat”


single-handedly curating the soundtrack to an assured universal blockbuster is no easy task for anyone, let alone a seventeen year-old.  lorde went two steps further, shouldering responsibility for the soundtrack’s monstrous lead single, “yellow flicker beat,” and its accompanying music video.  numerous comparisons were made to the aesthetic of david lynch, but the video particularly excels at showcasing lorde’s ownership of her artistic identity; her singular form of dancing becomes synonymous with the song’s anthemic chorus, further cramming a very natural artistic expression down the throats of detractors who expect something different from female pop stars.

4. pillar point – “dreamin'”


the surreal implications of the song’s title are aptly accentuated in the music video for “dreamin’.”  an early staple of pillar point’s career and the centerpiece of his self-titled debut album, “dreamin'” is forcibly reworked – in its introduction, anyways – to accommodate the contorted dancing style of the video’s protagonist, who seems to be a projection from the mind of the older man who appears at the beginning and end of the sequence.  yet despite the jubilance and dedication conveyed in the dance, “dreamin'” retains an incredible amount of poignancy, as the dancer’s feats go largely unnoticed.

3. caroline smith – “half about being a woman”


caroline smith tried her hand at r&b last year and wound up with half about being a woman, one of our favorite albums of 2013. nearly a year later she delivered a music video for the album’s title track that is at once heart-wrenching and uplifting, as smith’s monochromatic character traverses from utter despair to hardened confidence with a bit of help from her döppelganger.  raw emotions are rarely captured so effectively.

2. st. vincent – “digital witness”


a wes anderson color palate meets annie clark’s frazzled grey mane in st. vincent’s music video for “digital witness.”  clark has to be shortlisted as one of the best artists to emerge in the past decade, and the depth offered by her latest album only strengthens her claim to that exclusive club.  social commentary has often been a covert operation throughout st. vincent’s discography, but her views on the strong grip of modern technology are readily apparent on “digital witness.”  the martial rigidity of the song’s synthetic horn staccatos is mirrored by the nonsensical militaristic marching in the video, and the uniformity and repetitive acts performed by the cast is a metaphor for the enslaving power wielded by digital technology.  even clark, portrayed as a wary outsider, doesn’t seem to be fully free of its grasp.  just like the bulk of st. vincent’s output, both “digital witness” and its music video are beautiful at surface level and absolutely compelling once the outer layers are peeled away.

1. vince staples – “nate”


vince staples will be a key player in the immediate future of hip-hop, largely in part due to his visceral storytelling contained in songs like “nate.”  the video that accompanies the focal point of staples’ fourth mixtape, shyne coldchain vol. 2, is just as jarring: a domestic dispute played out in slow motion seen through the eyes of an unfazed child.  through association, one might assume that the autobiographical material from staples’ childhood directly correlates to the video’s protagonist, but said protagonist encounters staples while en route to a convenience store.  the fact that the video’s plot line may exist outside of staples’ personal narrative is critical, as it showcases a cyclical epidemic of violence and drug abuse in urban southern california.  it’s not a long stretch; staples has already proven he’s one of the most hyper-aware young minds in the rap game.