Beach House has a just-out-of-reach enigmatic quality to their music; I don’t ‘get’ what they’re trying to say but then I do…kinda. I’m OK with it – I’ve never needed meaning to be force-fed down my gullet (in fact, I prefer the opposite) – and their tunes often leave an aftertaste of mystery that never quite resolves. In those moments the lack of lyrical clarity is preferable; it frees me to power-down the analytical modules of my brain and relax into the pure ethereal atmosphere of their instrumentation.
It’s rather nice, really.
Allen Cordell, who directed the attached, seems to get this too as he’s peppered the whole affair with oblique, mysterious visuals that fit together in style and tone but not much else. It’s bizarre in the best of ways, a fitting first course for a late-night, solitary sesh.
What are you waiting for? Get in there.
This music video was put together by some of our favorite creatives: Fleur & Manu (No Brain) provided the decidedly Spielberg-ian direction, DIVISION Paris (No Brain, On’n'on) handled production and Machine Molle (The Greeks, Sur Le Quai, Goin’in) delivered the visual effects.
Truth be told, we first saw this back in October when one of our regular contributors, Sam Lillard, dropped it in our inbox. We liked it then, too! So much so that we filed it in our ‘_POST NOW BRAH_’ folder which, in light of today’s latent response time, should probably be renamed. Anyways, we decided to finally get this up on the site when we saw that its sequel, Reunion, was recently released. It’s just as great as the attached so, when you’re done here, definitely give it a watch next. Enjoy!
P.S. Keep your eyes peeled for No Brain‘s brief cameo at 0:27.
The other CRCR-created shorts we’ve posted so-far – Jesus2000 and Todor & Petru – definitely warrant your attention or, if you’d rather keep the awesome music video train rolling, check out our Ninja Tune feed; everything there is well-worth your time. Enjoy!
“I don’t want the right to be rude, I just want the right to be cool –
However I chose to do it, I do whatever I chose to be or whom.
Hey I don’t need your money, I can grow my own food.
I don’t need your beauty standard, I can be my own dude.
And I don’t pay tuition, I can be my own school.
I don’t need your prescriptions, I can change my own mood.”
I was alive in the early eighties but didn’t become cognizant of its peculiar pop-cultural flavors until years later when I’d embark on mid-day marathons of tee-vee re-runs. I enjoyed playing outside sure, but there’s something about being locked into a screen that I’ve always found cathartic. I felt guilty about it then but I’m not sure why; whenever I’d try to tune out some inner voice would chime in, reminding me that I was wasting precious time. In all honesty, I figured it was God trying to communicate that I was sinning but – considering I’ve ruled that line of reasoning out – I’m returning to these old shame-markers in an attempt to unpack them.
Almost immediately after I began watching the attached, random memories surfaced of couch-locked sunny Summer afternoons where I allowed my brain to spool itself down to catharsis via hours-long binges on such shows as Airwolf, Knight Rider, A-Team and Mission Impossible. I don’t know when the compulsion to cram my head with media started but, as far as I can tell, the fixation has always been with me; it’s what I love to do.
I know now that, in this regard, television was an aperitif, a mere warm-up to the full-on high that would deliver itself in stunning revelatory clarity when I first found the internet. I still hold affection for the older form, one in which it was someone’s else’s job to decide what I’d see next. There’s a sentimental comfort in watching simple characters act out uncomplicated plots (whose resolution you could reliably guess by paying close attention to the first few scenes) over a grainy analog signal.
In that regard, this music video for Brooklyn-based Friends – directed by Hiro Murai – delivers handily, leveraging a heavy nostalgia vector without getting too mired in it; there’s a modernity to the execution that keeps it fresh. I’m down. Plus: kaleidoscopes. Fuck yeah.
“All emotions are disease, worn down like rotted teeth;
I run a hundred miles an hour, to try and get free.
But to stained dollars we obey, ease the military away.
What happened to making the most of it?
What if one life – one roll of the dice – is all you get?”
The visuals in this music video for Birdpen (by Pooya Abbasian) are, at first glance a bit random and disconnected which, if I’m honest, initially put me off. I was like, what’s this all about bro? But the song itself – with its earnest description of the anxiety-riddled self doubt that chaperones our search for significance – speaks to the indeterminate, ultimate open-ended-ness that flows beneath us as we grow up. In that light, something connected and I watched it a few times in quick succession. Maybe you’ll like it too?
File under: LOLWAT
Have you guys ever heard of Hawaiian Baby Woodrose seeds? In terms of psychedelics I wouldn’t recommend them. On the gradient scale from discomfort to otherworldly bliss they skew wildly towards the former; your platter is piled high with twin helpings of purge and (if you’re lucky) only a minuscule, mostly-tasteless garnish of surreal, clanking insight. To put it simply: there’s a reason you can buy them legally at your local garden supply store.
We’ve all been there though right? A blank-slate weekend with itchy thoughts, desperate for some kind of stimulation. Your mainstays are all-but depleted with no one in sight to replenish their stores. It’s in these moments the mind gets desperate. “Oh, you read about these on the internet? You heard it could-do-something-or-other? Yeah man, whatever, I’m down.”
A bored young brain can be a strange and dangerous thing.
Anyways, after a heavy barbecue dinner, a few drinks and some futile resin hits we swallowed them down. Numerous trustworthy warnings, received in hypertext, were casually disregarded; apparently they were supposed to be soaked overnight to remove some noxious husk. Too late, it’s 11pm on a clear, perfect Saturday; we’ll take our chances. “Let’s go.”
Hours pass. Nothing. Time for bed; we’re getting sleepy, unaware that this is part of the ramp up. “I’ll take the couch dude, good night, see you in the morning.”
I’m not sure when the ‘thrumming’ started but it probably kicked-off during R.E.M. sleep. Though in-reality absolutely still, my limbs were buzzy and shaking. It was as if my tendons were lengthening, the attached muscles dangling freely from stringy bones like swaying wind chimes before a late-summer thunderstorm.
And where was the warmth going? Why was it traveling to my core in thick palpable waves? Thrum-rum-rum-um, thrum-rum-rum-um, thrum-rum-rum-um. It was pleasant but…not. I couldn’t decide. Was I dreaming?
I opened my eyes and the opposite wall was alive with blinks and flashes. Is this the trip? Yes, but not like I was thinking, the fevered visuals on display came not from my mind but a more pedestrian source: the cheap display of an all-in-one stereo perched high on the shelf behind me. There was no sound coming from the speakers but I could hear it all the same, Thrum-rum-rum-um, thrum-rum-rum-um, thrum-rum-rum-um.
It moved in concert with my jangled limbs, carrying heat down my shoulders and up my hips to meet in the center of my gut. It felt wonderful for about a minute and then I realized what was happening: my body was trying to tell me that I was going to vomit. Like now. In someone else’s house. I needed to make a break for it.
Lying on the cool bathroom floor felt fantastic and I stayed there for hours. It wasn’t just the idle stereo’s flickering slot-machine demo mode that could be heard but all sources of light. In here however, the gentle thrum was gone, it’s barely-audible throb replaced by a constant and abrasive owl’s screech from the bright spherical bulbs above the vanity.
It was around this time that I said aloud, “Morning…I want it to be morning now.”
The flavors in the attached remind me a bit of that night though, thankfully, sans anxious nausea. This is one of those videos you need headphones on in a dark-room to fully appreciate. The layers of tight, aggressive synths and staccato vocals from new-on-the-scene Raveyards coalesce into an aggressive cacophony while the whacked-out dark, just-a-bit unsettling visuals (as directed by Brussels-based Charles De Meyer) ramp up accordingly til it all culminates in a bizarre crescendo.
It’s so dope, you guys; an instant classic. Enjoy!
“Good night to these wretched forms; all them gray eyes on the subway.
So long before you were born you were always to be a dagger floating…
...straight to their heart.”
Jamie Caliri conjures up an ethereal, bizarre and magical gumbo of visuals (with stylistic nods to Edward Gorey and Tim Burton) in this excellent stop motion music video for The Shins. It’s a treat friends, don’t hesitate to dive in.
Just a heads-up: you might not be able to watch the video here (if you can’t then click here). Why? VEVO. My disdain for the service is well documented but I’ve softened a bit and think a personal grudge towards a distribution model (with an unnecessarily shitty user experience) is a poor reason to not share these tasty bits with y’all. Plus, if MADE ever uploads a HD version to their Vimeo account I’ll just update the post. You dig?
Anywho, this shit is doooooooope; a glorious four-and-a-half minute technicolor psychedelic romp down geometric wormholes, past kaleidoscopic alien abductions and into the mouth of God. Full 1080p too, so get this shit full screen.
Pete Fowler directed this one and, if you’re not familiar with his work, I recommend you head over to his Flickr account immediately; his bold graphic style is a treat. Oh, and if The Horrors intoxicating blend of starry-eyed, psychedelic, rambling synth-drenched rock is your thing I recommend you check out Skying for lots more of the same. It’s the kind of album you’d want on a road trip; it’s cinematic but contemplative, bright and big but a bit lazy, too. It’s all rather nice really and easily worth the ten bucks.
A HUUUUGE thanks is due to Naz for sending this one our way…cheers!
posted by respondcreate on Apr. 16, 2012 in Videos | tags: aliens, bizarre, colorful, geometric, hd, kaleidoscope, made visual studio, music video, pete fowler, psychedelic, spiritual, the horrors, trippy, vevo sucks, wormhole
I’ve seen some truly heinous shit in my day but the panic that gripped me as this music video progressed was terrifying.
I think this has more than a little to do with the birth of my first child, an incredible experience that occurred just over a week ago. When she emerged slick and squirming from my wife’s birth canal I could feel the neurons in my brain twitching with a busy psychedelic electricity, their axons plumbing to new depths while fingers of delicate dendrites spread outwards to deposit a bumper crop of synapses into my grey matter. The initial effect was euphoria, unlike any I had ever felt; nothing can prepare you for it; there is no fitting analogy to aptly describe the wholesale expansion of conciousness that takes place when a new member of your family arrives.
Much ado is made of the love that floods through you in that moment – and let me assure you, it’s there in prodigious quantities – but the fear that slowly creeps up your spine when the medical equipment is wheeled out and you are left alone with your swaddled heir is rarely mentioned. In the apt words of Jerry Holkins, “they’re only using the word fear because they don’t know what else to call it, how to name that rising, primal ice one feels when faced with the hanging jowls of the unknowable.”
You quickly realize that the world you have inhabited for the past few decades is not fit for human life, or rather (I should say), for this human life. She is too delicate, too pure; too beautiful, too sweet. I could not bear the thought that any harm might befall her and I wasn’t quite sure it would be wise to ever leave that hospital.
A few years back I finally refined enough mental rocket fuel to propel me free of my inherited belief system’s gravity. You know, the one where you can avoid an eternity of perpetual immolation by placing your trust in a two-millennia-old fully-God-and-fully-man jewish carpenter? To be clear, the after-death insurance policy isn’t what kept me there for so long but the idea of an always-there, infinitely wise best friend who had a ‘plan’ for my life. The entirety of my psyche was stuck in a mental holding pattern, waiting in vain for the God of the Universe to tell me what it was that ‘He’ wanted me to do. Many of my former fellow congregants spoke smiling and glassy-eyed about how there was ‘freedom in Christ’ but I honestly never understood what that meant. It just felt like torturous cognitive incarceration to me.
And again, when that warm, initial giddy wave that accompanied my new-found spiritual freedom receded back, a cold realization deposited itself like jagged, rusty flotsam on the shore of my mind: no one is minding the store. There is no ultimate authority on right and wrong, no final judgement on those who seek to harm, no all-powerful hand to ensure that love ultimately prevails…
...no perfect being to protect her.
So yeah, this video! It’s messy, and raw, and real. And watching the narrative unfold in reverse (as expertly directed by Ellis Bahl) grips me with terror: who is her father? Does he know where she is? Can he get there in time? Who will save her?
I know it’s just a music video but this all could have (and, in all likelihood, probably has) happened here, in the real world. And just as I have decided to shrug off the illusory restrictions of some distant, intensely-interested-in-my-future deity, I am also determined to not be held in captive fear by all the potential ultimately-out-of-my-control ways harm could materialize around my daughter. I guess what I’m trying to explicate here is that, in spite of all this, I still have a say in the matter; I am endowed with the freedom to contribute my efforts, no matter how small, to shaping this marvelous plane of existence, too.
A sometimes scary but blindingly beautiful world awaits your discovery, Maia; there is so much I want to show you.
OK: headphones-on, lights-down, full-screen and volume way-the-fuck-up. Today’s heady dose of deep, dubby, synth-drenched, head-down tech-house goodness is generously provided by the always-right-on Simian Mobile Disco. It’s a tune from their upcoming album Unpatterns which, for me at least, will be an instant purchase when it’s released in a few weeks on April 15th. If you’d prefer a physical copy of your music – in spite of the fact that we’re firmly in the age of instantly-transmittable bits – you can pre-order it on vinyl or a CD right now via the Wichita Recordings website.
It’s not just the music that’s top-notch but the just-under seven minutes of tastefully restrained, simple, tight, geometric, sometimes-in-sync-and-sometimes-ambling visuals (as created by long-time Simian-collaborators Jack Featherstone and Will Samuel of London-based ISO), too.
We love shit like this, Jordan – thanks so much for sending it our way. Cheers!
posted by respondcreate on Apr. 02, 2012 in Videos | tags: abstract, animation, colorful, electronic music, geometric, hd, iso, jack featherstone, music video, simian mobile disco, trippy, will samuel
“Take a sweet, gut-it-stuff-it then we puff it…”
Joey Garfield, one of the many talented directors at Ghost Robot, tapped Elliot Lim, Jason Esser, Aaron Kemnitzer and Nate Costa to create these über-dope visuals for some super-chill tunes by The Cool Kids.
posted by respondcreate on Mar. 01, 2012 in Videos | tags: brdg, daihei shibata, dance, electronic music, future, hiroshi sato, music video, plusmus, robots, science fiction, technology, trippy, yaporigami
“Seventeen seconds and I’m over it, ready for the disconnect;
Putting on a brave face, trying not to listen to the voices in the back of my head.”
Have you guys seen Midnight in Paris yet? I highly recommend you check it out. Anyways, there’s this one scene where Ernest Hemingway is asked to read a book by another writer and he preemptively responds that he hates it, even though he hasn’t read it yet. When asked why he says, “If it’s bad, I’ll hate it. If it’s good, then I’ll be envious and hate it even more. You don’t want the opinion of another writer.”
There’s this weird thing with creative people. We’re inspired to make stuff because we admire stuff other people have made and then, when we finally start to make stuff of our own, some weird deeply-buried insecurities start to rise up and the stuff that used to inspire us now breeds resentment instead.
But that’s just a tendency, not necessarily a rule; every once in a while an artist comes around whose work oozes pure creativity that temporarily severs us from our baser competitive nature, freeing us to relax and truly enjoy what they’ve made. You know, someone like Gotye. Every song he writes sounds completely unique; it’s almost as if he takes a few months off in-between each one to explore a different aisle in some eclectic, well-curated record store.
For example: compare the brooding and contemplative Bronte (which we posted back in December) with the intriguing, subdued, angsty and catchy-as-hell Somebody That I Used to Know (which we’ve been meaning to post) with the Odelay-era Beck dirty-funk-rock of Easy Way Out (conveniently attached to the top of the post).
See what I mean? Anywho, all of the aforementioned tunes are off of the infinitely excellent Making Mirrors which you can buy on iTunes and just about everywhere else. The excellent, perfectly timed stop-motion visuals in the video were directed by Darcy Prendergast and executed by lots of other talented folks at Oh Yeah Wow who, you might recall, also created the super-mellow Rippled so be sure to check that out if you haven’t seen it already. Enjoy!
NSFW Disclaimer: There’s some animated nudity towards the end so don’t watch this at work, OK?
We’re diggin’ this bizarre, monochromatic music video for The Dead Pirates created by Matthieu Bessudo and Simon Landrein. In addition to being a member of the band Matthieu is also known as Mcbess, a London-based illustrator whose work successfully combines a grab bag of influences from the early 20th century – like Elzie Crisler Segar‘s Popeye and Max Fleischer‘s Betty Boop – with a tight, sterile (but in a good way) and modern rock-a-billy aesthetic.
A big thanks is due to Drew for sending this one our way. Cheers!
A line in Resident Advisor‘s recent review of Mux Mool’s Planet High School (on Ghostly) instantly resonated me. Andrew Ryce described the album as, “an anomaly in an overcrowded field of beat music, preferring actual songs over sketches and loops, progression over attention deficit” and, in that one sentence, helped shed some light into my (sometimes) ridiculous tendency to instinctually categorize electronic music as either genius or shit. This type of knee-jerk hyperbole is, on the whole, unhelpful and (embarrassingly) dramatic but it also belies my childlike, underlying passion for the art form and its potential power. Beat-making is getting easier and easier these days but the core challenge remains the same: can you tease warmth and depth from a handful of overlapping loops? More often than not – with legions of producers tripping over each other to mimic Skrillex’s latest ‘drop’ – the answer is a terse and adamant ‘no’. But when it’s ‘yes’? Absolute fucking magic.
One of my favorite producers ever is Bonobo, a one man operation who has an uncanny ability to craft transportive electronic music. I could make my case with some flowery prose but it’d be far more economical to just have you listen to Recurring for the necessary evidence. This, a music video for a remix by Machinedrum of his tune Eyesdown, channels the fluid complexity of the original while ratcheting the mechanical syncopation to eleven.
Enter director/animator extraordinaire Anthony Francisco Schepperd (of The Music Scene, Wail to God and Two Against One fame) who leverages the organic-and-wispy-yet-bass-heavy-robotic intrigue in the tune as an agar plate on which to grow his infectious, signature visual approach. Oh and he crafted it all for Ninja Tune in just under a month. Pro.
The bass on this one is especially nice so get your headphones out. A big thanks is due to Sam Lillard who sent this one our way last night. Cheers!
We’ve posted loads of other fantastic Ninja Tune music videos, click here to see the complete list.
“I’ve grown a handsome tall tree, mother,
And I want to bear a fruit for you.
And I have carried your fears and your hopes, father;
They’re so heavy on my back, oh you should know.”
The process of becoming a person is a strange one; it is messy, inexact and crude. Anyone who tries to convince you that their maturation was as smooth, confident and intentional as an expertly executed golf stroke is lying. We are all tumbling through space, constantly trying on new masks and costumes hoping one eventually feels right. Someone once told me that you don’t know who you are until your late-twenties and, in my case at least, that’s more-or-less true.
Up until then we try desperately to make sense of the instincts, fears and desires that were imprinted into our fragile minds at birth or injected sometime after as the result of some inexplicably electric first-hand experience. We want to make our parents happy and then we relish their disapproval. We reject the social caste system but secretly hope we’re cool, forever longing for the approval of our peers. We love and we hate; we brood and we let go; we’re anything but still.
It’s a hard thing to fully encapsulate in few paragraphs of internet but that’s why we have music videos, right? If you haven’t noticed already, there’s another stunner from Sub Pop attached to the top of this post. It’s for a tune by Niki & The Dove, a two-piece pop outfit from Sweden whose sound is described by their aforementioned label as, “full of magic and light but with an unsettling darkness hidden beneath the surface.”
Yup. Sounds about right.
The visuals are from Sub Pop’s neighbors at WINTR who, I think you’d agree, knocked it out of the park. The out-there/colorful/abstract/geometric elements soar when tethered to the sweeping, baroque landscapes. The net effect is thrilling, like watching a kite pulled taut by the wind. Full-screen HD, y’all. Grab your headphones, crank the volume and enjoy!
Click here for more Sub Pop goodness on The Tripatorium™.
“Gotta let this go;
Gotta field tomorrow on my own,
Your touch keeps on hurtin’.”
Back in September we posted a video by David Lewandowski that perfectly encapsulates one of our favorite flavors of internet: the ever elusive LOLWAT, comprised equally of parts silly and strange. We love that shit, bro.
Anyone who’s seen Tron: Legacy knows that David has talents beyond creating the fleetingly bizarre – he crafted the exquisitely rendered opening title sequence – so we were thrilled to discover that he recently directed a music video for Friendly Fires who, besides having a fantastic band name, write some super-catchy ‘choons.
David’s grandiose, hyperbolic visuals mirror and amplify the torturous experience, as described in the song, when an object your affection doesn’t feel the same way about you as you do of them. Love is a strange/alluring/wonderful thing and we’re willing to endure a lot of pain and bullshit for a shot at it.
There’s loads of fantastic visual touches sprinkled throughout, so keep your eyes peeled the whole way through. Serving suggestion: Full-screen HD with the volume way up. Enjoy!
A big thanks to William Doran, who first brought this to our attention two months ago, and to Joe Findlay who wrote us a couple of weeks back to remind us we hadn’t posted it yet. Cheers, guys!
I first watched this last night on my laptop and was instantly smitten. My initial assessment was that it was akin to looking through the windshield during a drive-thru car wash within What Dreams May Come. It’s an orgy of sloshing, intermingled color that’s constantly changing costume from a myriad wardrobe of morphing textures. Anyways, after watching it on the laptop I was curious to see what it would be like on the big screen, so I hooked it up to my HDTV and took a seat on a comfy chair about fifteen feet away.
I highly recommend you do the same and, if you don’t have a large screen available, just take a few giant steps back from whatever device your watching this on; it’s not so much about the size of the screen but your distance from it that’s important. When you do a whole host of imagery will present itself: people, landscapes, things; all fleeting but instantly recognizable. It functions similarly to Chuck Close‘s post-seizure paintings: up close they appear as a grid of imprecise, crudely rendered orbs and splotches while, at a distance, a psychedelic proportional face starts coming into view.
The attached was created by Morgan Beringer as part of a two-video set (the other one is equally hypnotizing and abstract so don’t hesitate to give it a watch) for Matthew Dear‘s recent release on Ghostly International, a label I whole-heartedly recommend you keep an eye on. Their track-record of top-quality releases (with videos to match) is a clear indicator that what they’re doing over there is special. Have you seen Brokendate? Also from Ghostly, also rad.
If you’re diggin’ this then be sure to check out Amalgamation, too.
I was sick recently – the flu, I think – and the fever dreams that gripped me as I tossed and turned during my first attempt at sleep were truly bizarre. I would describe them as neither pleasant nor nightmarish but simply visions; strange, poignant and fleeting glimpses into another world. They were rooted in reality but wholly separate from it; vague narratives populated by people, concepts and places that I knew but presented in an entirely new context, overflowing with cryptic, I-can-almost-grasp-it-but-not-really messages.
The attached reminds me of those sweat-soaked, unsettling hallucinations so I thought it was only fitting to share it here on my webzone.
It was created by Tobias Stretch – who we’ve featured before – as an unofficial music video for a little group called Radiohead (have you heard of them?) whose tunes, for me at least, are always a bit perplexing so the pairing is just right. Enjoy the ride!