Diamond Rings. Photo by Jess Baumung.

This week’s edition of Tuesday Tracks rounds up a trilogy of music videos. The theme was inspired by our first selection today. It occurred to me how much the landscape has changed over the past ten years for music videos.

As an adolescent, videos were my primary source for new music. Commercial radio was the same dire source of mediocrity that it is today and the wonders of mp3s and napster had yet to reveal themselves—so MuchMusic was king. It would just stream in the background morning, noon, and night. Of course, those days are long gone and Much reserves their musical programming for somewhere between 3:00 and 5:00 a.m. Which is a shame, because it’s such a wonderful and expressive delivery method for great (and not-so-great) music, not to mention a launching pad for some of the most interesting and creative directors around. It’s a medium that allows for visual experimentation without the weight or pressure of a story, or a theatrical release.

Videos have made a mild resurgence with the internet, but there is no central hub – to my knowledge—where one can go and fill up on these little pieces of video art. So for today at least, here are three music videos. Not live videos, but honest to goodness music videos, with direction and actors and themes and vague narratives. Enjoy.

First up: DIY choreography and Ziggy Stardust-esque sports heroes. Diamond Rings is the solo project of D’Urbervilles frontman John O’Regan. It’s a laptop/keyboard/guitar pop factory that’s turning out quality products. He’s got a thing for choreography and campy style, both of which he’s refined to an art—and I love that basketball jersey.

Next is Toronto based rapper D-Sisive with a video full of big colour and bigger sound. Here we have D dressed to the retirement nines, putt-putting around on an electric scooter. The narrative is pretty straightforward, he’s out of here, “throw’n up the ‘W'” and heading for the west coast.

Finally in an obvious example of impression baiting, we have Metric. Their song, “Eclipse (All Yours)”, is the official theme some of this year’s Twilight movie, currently rampaging through box offices across the country. But I urge you, don’t click away—big budget, cross-promotional music videos were always part of the game. Anyway, this is what the kids are into these days—I thought you should know:

But the thing is, the Junos’ didn’t do so badly. There was plenty of praise left over for a whole heap of praise for some fringe Canadian talent. K’naan, for example, is this year’s Artist of the Year based on his latest album Troubador; while East Coast troubador Joel Plaskett walked away with Adult Alternative Album of the Year. Not to mention wins for Metric, Drake, Deadmau5 and Bell Orchestre.

So, for this week’s edition of Tuesday Tracks, please enjoy another helping of Juno glory. These three acts were each honoured with well deserved statues this weekend. Congratulations.

First, Charles Spearin’s The Happiness Project took home the award for Contemporary Jazz Album of the Year. This album is a meditation on happiness as told through interviews with Spearin’s neighbours. After the interviews Spearin wrote music to frame the tone, pace, inflection and cadence of their voices. Sometimes following note for note, sometimes, as in the song “Vittoria” below, the voice is used as punctuation to the melody.

Next, The Arkells picked up a trophy for New Group of the Year based on the strength of their debut album Jackson Square. This album tweaks honest blue collar rock n’ roll just enough to make it both fresh and timeless. “Pulling Punches” invokes a “Dancing in the Dark” feeling:

Finally, The Good Lovelies took home Roots Album of the Year. Their bio calls them the “perfect antidote” to recession caused doom and gloom and they would be right. Their self-titled debut is a beautiful and playful reflection on life, love and the wonderful little things that make it all worthwhile.