The song: On the neon-hued, ’80s-R&B-inflected neo-disco of “Get Strict,” the first single from Yip Deceiver’s forthcoming full-length debut, Double Future (due out this spring via Aerobic International), fingerprints of the duo’s other band, of Montreal, are visible. And like many of that band’s songs since, say, roughly 2007, this track is full of winking funk basslines, whimsical synthesizer burbles and oversexed falsetto singing, only with a more persistent four-on-the-floor groove to encourage—or more specifically, insists on—dancing from its listeners.
The video: With a song that’s so obviously made for the dance floor, it makes sense that its video is a collection of different people -- from booty-bouncing YouTube stars and ballerinas to musical comedian Reggie Watts and a Rockette -- showing off their moves. And for guys who also play in a group as theatrical and flamboyant as of Montreal, this clips is appropriately outlandish. So sexy nuns, whose glitter eyeliner matches their fishnets, high kick through a diner; a bikini-clad Storm Trooper pulls the pin on a disco-ball grenade; a bear chases down a hunter and steals his gun; band members ride a unicorn through the forest; and Santa Claus and the Easter Bunny fight to the death.
The director: The “Get Strict” video gets its barrage of fanciful imagery and impressive array of guest stars from its directors, credited as Ghost + Cow (real names: Brandon LaGanke and John Carlucci). "The dancers were either friends of ours or friends of friends of ours,” they say. “Reggie was amazing. So good, in fact, that we plan on releasing a full Reggie cut later next month. Latoya, the amazing black girl in the beginning, had a cool YouTube channel that we loved. And the nun dancers were all compiled from our incredible choreographer, Elena Vazintaris... We even put ourselves in there [as] Santa Claus vs. Easter Bunny."
Yip Deceiver ‘s hook-heavy electropop paints with a familiar palette, but is funkier and more tightly constructed than expected. Unlike other acts enamored with hedonistic synth melodies, shiny, plastic beats and glitzy, giddy visuals, this band isn’t laughing at them, deconstructing them or incorporating them with ironic detachment. They just own them. There is honest-to-god joy in their songs, despite how silly they know their retro references can be. So the medium of the music video is a good one for Yip Deceiver, as it allows them to revel in the ridiculous visually, while keeping their music far from the butt of the joke.