Cannons Can’t Hide From Us

On September 10th, Cannons released their first full length album…but you wouldn’t know it looking at their Facebook page. The past month shows a solid string of posts promoting their new video “Trapped (Night of the Gas Station Explosion),” a song off the new record, but nothing mentioning the record itself. Odd.

Odder yet is the fact that their page links to a website that doesn’t exist and has no mention of where the band is from. The answer to that question is Tel Aviv (relevant, no?), which can be found on their Bandcamp page. But be careful, Googling “Cannons Band” will likely lead you to the page for an LA group of the same name. You’ll find the same goes for a Spotify search.

Cannons

But if you can actually navigate to the correct Bandcamp, or sit down to watch their videos, you’re in for a treat. The new album Nothing Anywhere is groovy and professional. Think Foster The People with more of an ear for modern indie. Instruments are layered well and played with a tight execution. The singing has a bit of that loveable English-as-a-second-language flair, setting it apart from standard indie-pop. Catchy melodies ebb and flow through a record that captures a slight nostalgia for early 2000’s alternative, while maintaining its modern feel.

Cannons’ new album is impressive, but their videos are even more so. There are two that go along with the new album, but the first came out almost two years ago. The Invisible Cities video is beautiful and thought provoking. Bright colors and nature scenes stand in contrast to the troubled protagonist (Cannons’ front man Sagi J. Shahar). The video becomes increasingly surreal as it moves along, ending with a scene reminiscent of Grant Morrison’s The Invisibles (sometimes pointed to as the inspiration for Rust Cohle’s circular view of time in the first season of True Detective).

Cannons’ new video is even better. Highlighting a lazy day in the life of a couple in love, and ending with a bit of mystery, “Trapped (Night of the Gas Station Explosion)” is emotional, sexy, and evocative. The video mostly consists of two people laying or sitting around, yet manages to be thoroughly gripping throughout. In the end, the video is perhaps more intriguing than the song. While pleasant and ethereal, sonically it is a bit stagnant.

Cannons raises questions, in both good ways and bad. Their music videos are engrossing and understated, leaving the viewer curious and hungry for more. Their album is lively and crisp, but for a band with such quality in their art, why have a Facebook page that barely offers any info that we want? Why does it take a concerted effort to find out where they’re from? They have the means to produce two high quality music videos, but not to host a website? Cannons is a band with serious chops, but if all this effort at trying to find out who they are just a part of forcing you to find the art, then they are truly succeeding at it because we tried hard. However, with another band of the same name to compete with, they need to get their online presence together.