Skott wears many hats — from producing, singing, writing, to now co-directing on her anticipated return “Bloodhound.” The arrival of the catching cut carries Skott’s melodic signature vocal runs and askew entrapment. Released via Skott’s own label, Dollar Menu, in partnership with Cosmos Music, “Bloodhound” is more than an airy, intangible emotion, but a personal unraveling thread of caring less about what others think with a casual presentation.
Utilizing her pristine vocals as lead instrumentation on the track’s hook, Skott dances around the mesmeric, electro-pop production that lulls one in a false sense of security for threatening lines: “I’ve been looking for an alibi / To take you out of sight / Take you out of mind.” All in all, this calls for the perfect recipe for an imaginative, eerie tale, which fuels the accompanying video.
Co-directed by Skott and Paras IV, and shot on-location in Rättvik where the artist grew up, the video takes a fictional route of disturbance, and at the same time a whimsical nonsense. This can either be dissected as a highly meaningful interpretation of Skott’s inner spirit animal and the evolution that is occurring internally, or a fanciful story-line that is a playful thank you to fans. These two halves circle back for an assuring yes to both, and affirms that the video holds more weight than the song itself, somehow book-ending each other neatly.
Based in the fictional town of Bloodhound, the weary nature seeps in as residents begin to disappear yet the dog population grows, which for some people, isn’t such a bad concept. As the video pans over countless missing posters — and about 20 papillions, which were borrowed from a friend to star alongside Skott’s own two dogs — the video’s campfire spook conjures these two halves once more. Featuring photos of her fans for the “missing” posters and filming a portion of the video on her ancestral homestead, “Bloodhound” and its mindful pieces justly announce her return, upcoming debut album, and new chapter ahead.
Which this all makes sense for the artist to branch out with her own record label. Skott expressed on social media that she was “looking for a way to get music to you quicker and keep my creative process intimate” — the reward of total control. “Going independent feels a bit like I’m stepping off the forest path and suddenly find myself in this dark magical jungle,” continues Skott on Facebook. “It’s big and scary but at the same time it’s an adventure and I’d love to take you with me. Always wanted to try this so what the heck let’s go.”
“It’s ok to show your teeth a little sometimes, and not worry too much about pleasing others or playing it safe, which I think many of us can find ourselves doing at times. I feel like starting my own label kind of runs in the same mindset. The song is playful and doesn’t take itself too seriously. I hope it resonates with some weirdos out there doing their own thing.”
Girl Underground Music 
Skott wears many hats — from producing, singing, writing, to now co-directing on her anticipated return “Bloodhound.” The arrival of the catching cut carries Skott’s melodic signature vocal runs and askew entrapment. Released via Skott’s own label, Dollar Menu, in partnership with Cosmos Music, “Bloodhound” is more than an airy, intangible emotion, but a personal unraveling thread of caring less about what others think with a casual presentation.
Utilizing her pristine vocals as lead instrumentation on the track’s hook, Skott dances around the mesmeric, electro-pop production that lulls one in a false sense of security for threatening lines: “I’ve been looking for an alibi / To take you out of sight / Take you out of mind.” All in all, this calls for the perfect recipe for an imaginative, eerie tale, which fuels the accompanying video.
Co-directed by Skott and Paras IV, and shot on-location in Rättvik where the artist grew up, the video takes a fictional route of disturbance, and at the same time a whimsical nonsense. This can either be dissected as a highly meaningful interpretation of Skott’s inner spirit animal and the evolution that is occurring internally, or a fanciful story-line that is a playful thank you to fans. These two halves circle back for an assuring yes to both, and affirms that the video holds more weight than the song itself, somehow book-ending each other neatly.
Based in the fictional town of Bloodhound, the weary nature seeps in as residents begin to disappear yet the dog population grows, which for some people, isn’t such a bad concept. As the video pans over countless missing posters — and about 20 papillions, which were borrowed from a friend to star alongside Skott’s own two dogs — the video’s campfire spook conjures these two halves once more. Featuring photos of her fans for the “missing” posters and filming a portion of the video on her ancestral homestead, “Bloodhound” and its mindful pieces justly announce her return, upcoming debut album, and new chapter ahead.
Which this all makes sense for the artist to branch out with her own record label. Skott expressed on social media that she was “looking for a way to get music to you quicker and keep my creative process intimate” — the reward of total control. “Going independent feels a bit like I’m stepping off the forest path and suddenly find myself in this dark magical jungle,” continues Skott on Facebook. “It’s big and scary but at the same time it’s an adventure and I’d love to take you with me. Always wanted to try this so what the heck let’s go.”
“It’s ok to show your teeth a little sometimes, and not worry too much about pleasing others or playing it safe, which I think many of us can find ourselves doing at times. I feel like starting my own label kind of runs in the same mindset. The song is playful and doesn’t take itself too seriously. I hope it resonates with some weirdos out there doing their own thing.”
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