Lola Marsh deliver one of the more sentimentally profound concepts on their latest track “Echoes.” The Tel Aviv-based indie duo, comprised of Yael Shoshana Cohen and Gil Landau, take a listener on a retro-fused awakening that reigns with a cinematic score to the likes of a Quentin Tarantino film. Paired with the stunning visual directed by Indy Hait, “Echoes” takes on many forms.
Driving with Landau’s deep chords that slightly dip into a late surf-pop realm, “Echoes” conforms to a fluid movement, similar to the track’s lingering intent. Cohen’s vocals are airy and seamlessly flexible, floating across the intoxicating melody, alongside a bass-heavy drum. Meeting on a psych-pop soundscape, Landau and Cohen’s weapon of choice guard emotions. While “Echoes” does spark a lively and upbeat tone, Cohen’s conflicted and yearning vocals speak of a light caught between two mirrors; internally stuck.
“‘Echoes’ is about that feeling you sometimes have when you want to disappear, but at the same time, want to be found. That scary beautiful moment just before falling asleep, when you are the most lonesome version of yourself. And it’s for Maya,” explains the duo.
Bringing the duo’s charming voice to the setting of a short film, Indy Hait’s direction plays with a more literal concept and showcases time in a stunning dance sequence. Built from an embedded want that is never achieved, “Echoes” continues to employ the bittersweet qualities.
“In the video you can see past and present at the same time as an infinite dance,” explains Hait. “I remember explaining them the idea, and I could tell they were really excited about dancing in the video!”
The video features the duo with multiple versions of themselves, replicating each movement with only a slight delay by their reflective images portrayed by an entourage of dancers. Expressed by Hait that every scene needed to be “nailed” due to it being shot on 16mm film, the cast flawlessly melts to each move. Clinched with an open-ended final scene, “Echoes” is the result of conceptual manipulation and ironically, patience.
Girl Underground Music 
Lola Marsh deliver one of the more sentimentally profound concepts on their latest track “Echoes.” The Tel Aviv-based indie duo, comprised of Yael Shoshana Cohen and Gil Landau, take a listener on a retro-fused awakening that reigns with a cinematic score to the likes of a Quentin Tarantino film. Paired with the stunning visual directed by Indy Hait, “Echoes” takes on many forms.
Driving with Landau’s deep chords that slightly dip into a late surf-pop realm, “Echoes” conforms to a fluid movement, similar to the track’s lingering intent. Cohen’s vocals are airy and seamlessly flexible, floating across the intoxicating melody, alongside a bass-heavy drum. Meeting on a psych-pop soundscape, Landau and Cohen’s weapon of choice guard emotions. While “Echoes” does spark a lively and upbeat tone, Cohen’s conflicted and yearning vocals speak of a light caught between two mirrors; internally stuck.
“‘Echoes’ is about that feeling you sometimes have when you want to disappear, but at the same time, want to be found. That scary beautiful moment just before falling asleep, when you are the most lonesome version of yourself. And it’s for Maya,” explains the duo.
Bringing the duo’s charming voice to the setting of a short film, Indy Hait’s direction plays with a more literal concept and showcases time in a stunning dance sequence. Built from an embedded want that is never achieved, “Echoes” continues to employ the bittersweet qualities.
“In the video you can see past and present at the same time as an infinite dance,” explains Hait. “I remember explaining them the idea, and I could tell they were really excited about dancing in the video!”
The video features the duo with multiple versions of themselves, replicating each movement with only a slight delay by their reflective images portrayed by an entourage of dancers. Expressed by Hait that every scene needed to be “nailed” due to it being shot on 16mm film, the cast flawlessly melts to each move. Clinched with an open-ended final scene, “Echoes” is the result of conceptual manipulation and ironically, patience.
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