“Hoppe” By TEKE::TEKE
TEKE::TEKE has shared a music video for “Hoppe,” the final single from their forthcoming album Hagata out this Friday, June 9th, via Kill Rock Stars. The song is one of the most raucous and driving tracks on the album, with stabbing rhythms and a wild surf rock inspired guitar solo. Lyrically, “Hoppe” is another of vocalist Maya Kuroki’s bizarre yet profound fables, featuring old men emerging from food as a metaphor for mortality.
The track’s video, directed by Montreal band’s guitarist Sei Nakauchi Pelletier alongside Samuel Woywitka, features the band in their comfort zone, performing an intense set at a club. Featuring animations courtesy of Kuroki, it is yet another chapter in the band’s whimsical visual catalogue.
Shot and edited by the band, the video displays the group’s signature visual blend of live action and animation as previously explored in the videos for singles “Garakuta” and “Gotoku Lemon.” The track itself explores the more aggressive post-punk edges of TEKE::TEKE’s sound with cutting guitars and horn arrangements while lyrically, vocalist Maya Kuroki spins one of her signature kafkaesque fables. Featuring men emerging from mysterious foods, it concludes with the stark admonishment: “There’s no such thing as “Forever”, that’s the way it is / A broken illusion eats up the earth completely.” Though as enigmatic as ever, the band encases this message within a raucous romp complete with stabbing staccato rhythm and a wild, surfy guitar solo. Indeed, Hagata sees the band more eclectic than ever, while still preserving their ferocious and playful spirit.
Looking up at the sky one afternoon, Maya Kuroki spotted a cloud that looked like it had a bite taken out of it. One word immediately sprung to mind for the vocalist of TEKE::TEKE. “‘Hagata’ is a very deep word, something present but also something leftover from someone or something no longer there. It’s like waking up from a dream, or being connected to the other side of something.” TEKE::TEKE are intimately familiar with that duality, of splitting reality between past and present, complex melodies and hushed interludes, intense action and lingering response. After building their sound on Shirushi through careful assembly of countless splinters of Japanese folk, psychedelia, Brazilian surf rock, and other far-flung touchstones, the seven-piece indulged in and learned from stretching out in free-floating experimentation both on the road and with Hagata’s producer Daniel Schlett (The War On Drugs, DIIV, CHAI, Nick Hakim), and his assistant, Daniel Fox, recorded in a scenic studio in Mountain Dale, New York, the album having been mastered at Sterling Sound.
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