Not every vocalist looks the way they sound, and frankly, I thought that Rhye was fronted by a woman the first several time I heard them. Some may see that comment as excessively judgmental, but it is actually intended as a compliment. With a voice at a natural tenor,  Canadian singer Michael Milosh holds a powerfully high tone that makes every track seem like a casual showcase. The ease of such vocals combined with light and purposely repressed piano and percussion patterns leads “The Fall” to leave listeners in a state of subconscious sublimity.

This week is on fire with brilliant videography. In today’s snippet of cinema, the soft-tempered main character is stuck in a seemingly eternal daydream about a girl he once knew. While the girl he now has relations with is by no means a bad person, he finds the replacement of his past lover an impossibility. Partially rooted by his playful immaturity, his inability to let go of this overbearing precedent is thoroughly illustrated by several key signs, including his generally distant manner, the action of opening his eyes mid-kiss, and the concluding scene where he went on a nostalgically inspired bike ride just to experience some sort of significant and enjoyable feeling outside his own head.

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