Got A Girl – Mary Elizabeth Winstead and Dan “The Automator” Nakamura – are excited to share the music video for “Did We Live Too Fast”, from the debut album I Love You But I Must Drive Off This Cliff Now, out on Bulk Recordings July 22nd. The whimsical video, premiered today on Noisey and hosted exclusively via the Maker Music YouTube channel, was written and directed by Hope Larson, best known for her award-winning work as a cartoonist. In the video Winstead and Nakamura play a married couple exploring comedically unconventional sexual kinks in an effort to spice up their stalled relationship. I Love You But I Must Drive Off This Cliff Now, is available now for pre-order via Amazon and iTunes.
Watch the music video for “Did We Live Too Fast”on Noisey
Stream “Did We Live Too Fast” on SoundCloud
Got A Girl’s enthralling debut album, sees Nakamura – whose innumerable, inimitable credits include influential production (Kool Keith/Dr. Octagon, Gorillaz) and membership in such visionary collaborations as Deltron 3030, Lovage, and Handsome Boy Modeling School – cooking up one of the most exuberant sonic confections of his brilliant career, a giddy and impressionistic setting for Winstead’s — known for her work in the films Scott Pilgrim Vs. The World, The Spectacular Now, and next seen in Kill the Messenger — sweetly detached vocal delivery and nuanced lyricism.
Winstead and Nakamura first crossed paths while both worked on 2010’s Scott Pilgrim vs. The World, the actor acting and the musician contributing to the score. Right from the jump, the two seemingly disparate artists found they were both surfing similar waves of inspiration. Each were especially enthused by the daft, dewy and even slightly degenerate sounds of 1960s French pop, that uniquely Gallic soufflé of girl group soul, café jazz, lush arrangements and groovy eroticism. They soon commenced writing together, collaborating on lyrics as they learned more about each other’s creative strengths and interests.
I Love You But I Must Drive Off This Cliff Now is a perfectly realized union of atmospheric ambience and ambitious songcraft. The Automator is of course a master of genre subversion and experimental futurism, effortlessly transmogrifying hip-hop, psychedelia, found sounds, and all manners of pop and world music with his singular taste for prolix wordplay, multiple personas and conceptual adventure. For Got A Girl, he has assembled a rich, enveloping sound world all its own, with hints of Laurel Canyon folk, yacht rock, and sunshine pop stylized and synthesized through sumptuous arrangements, intricate electronics, and unfettered melodic invention. The sonic landscape calls up far flung locales both real and imagined, knit together by restless grooves, elastic dubby beats, and Winstead’s complex characterizations.
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