I can’t turn away from this yet every fibre of my being says I should. This is car crash entertainment at it’s most refined and cynical. Die Antwoord‘s career trajectory has seen them move from Deliverance’esque musical anomaly to hipster favourite and the cameo‘s in this video show just how deeply they’ve permeated American celebrity culture. Check out face drops from the likes of Jack Black, Charlotte Free, Cara Delevingne, Marilyn Manson, Dita von Teese, the ATL twins and Flea. ‘Ugly Boy’ is lifted from the outfits 2014 release Donker Mag.
I liked this song when I first heard it on the new Flying Lotus album You’re Dead but after seeing this video the song took on a whole other dimension for me and now the two are inextricably intertwined. Far from just being some visual filler or visual oddity to excite rabid YouTubers, this video takes the snippets of narrative and ideas in the song and expands it all into something larger and wildly profound. Director Hiro Murai says of the work,
“The original idea was to do something extremely joyful that felt like a catharsis compared to the setting (funeral).” – Hiro Murai
With ‘Never Catch Me’ Flotus and Murai have created a joint work that is more transformative device than mere audio-visual spectacle.
I love David Sylvian, from the dream art-funk of Japan to the ambient neo-pop of Gone to Earth to his more recent experimental explorations. He’s one of the great long range artists that has continued to evolve and engage rather than being dulled by time. Across all his releases, my wife, myself and even our 8 year old daughter have reserved a special listening place for Secrets of the Beehive and it’s siren song ‘Orpheus’. It conjures such vivid images via melody and lyrical play alone that it would seem an uphill task to put vision to it, yet here we are. This video holds so much back and gives so much more in return. In taking the non-prescriptive approach it speaks to those unquantifiable aspects of the song – nostalgia, memory, yearning. This video often reminds me of sepia take on Kenneth Anger‘s stunning 1953 short film Eau d’Artifice and has much in common with that films “inference versus description” approach. Brilliant.
I’m hard pressed to think of an artist or musical outfit that has influenced me more than Severed Heads. A good portion of their musical output was nothing less than visionary in it’s ability to bind pop music with an often alien, synthetic sound and a good dose of found sound and music concrete. Whilst I’m not sure if the Boards of Canada boys were fans or had even heard them, it feels like BoC couldn’t even exist without Severed Heads. ‘A Million Angels’ is lifted from the brilliant 1983 album Since The Accident and the wonderful video for the song shares a similarly experimental process to that of the music thanks to the video synthesizer magic of Stephen Jones. Check out this great re-telling of how the video for the track came to be from Tom Ellard here.
Taken from Clark‘s eponymous seventh album, ‘Winter Linn’ delivers on all fronts. This time Clark’s sumptuous, emotive, beat-driven electronic tapestry is accompanied by a brilliant video directed by the wonderful Chris Hewitt. I’m a massive fan of creative and smart 3d animation in music video and this piece hits that nail on the head so hard it will forever be buried in the wood. Interpreting Clark‘s vision for the album of “music like sculpture”, Hewitt has made vision that is as engaging as the music is accompanies. Total alchemy.
Here’s a wonderful quote from Hewitt on the video to round things off,
“I’ve been a big fan of Clark’s for years, having been drawn to the dark, distorted romance of his work. I’m excited by how his brain interprets reality and, in turn, music. Clark is one of the very few people I’d do mushrooms with. I love him that much.” – Chris Hewitt