Video directed by MEGAFORCE
Produced by : Kitsuné and Iconoclast
Production Company: Iconoclast.tv
DOP: Andre Chemetoff
Producer: Roman Pichon Herrera
Line producer: Jean Davi
1st AD: Antoine Poulet
Editor: Walter Mauriot
Colorist: Bertrand Duval at Mikros and Emiliano Serentoni at Dtouch
Post Production: Mathematic.tv
Post-producer : Guillaume Marien
Head of animation : Sébastien Eballard
Animators : Nicolas Dabos, Bruce
Layout and compositing : Maeva Sol & Arnaud Laplace
Supervisor projet : Martin Trepreau
Head of CGi : Yann Aldabe, Jehan Bouazza
[via Sam Brox on Bongorama]
Taken from the new album ‘American Twilight’ Out Now!
Q Magazine – 4/5 – “American Twilight could well be the prelude to a new dawn”
Uncut – 8/10 – “Expert at locating something holy in the rubble”
Record Collector – 4/5 – “Widescreen, complex and often breathtaking…”
Visuals by Danielle de Picciotto.
After a two decade hiatus, the legendary Crime & The City Solution return with a new incarnation based in a new home city, Detroit, and a brand new album ‘American Twilight’.
Original Berlin era members Simon Bonney, Bronwyn Adams and Alexander Hacke (Einsturzende Neubauten) are joined by David Eugene Edwards (16 Horsepower, Wovenhand), Jim White (Dirty 3, Cat Power), Troy Gregory (Witches), Matthew Smith (Outrageous Cherry, Volebeats) & visual artist Danielle de Picciotto.
Let the excitation begin – Crime & The City Solution live again.
The vocals in “Late Night” are strong and haunting, and the visuals that accompany them are chilling enough to be preceded by a parental warning. They take place in a hotel, flashing back and forth between the Britpop band performing in the cabaret lounge and the guests experiencing birth, death and everything in between in the rooms above. The video was shot in Romania and directed by Nabil Elderkin, who has directed videos for Frank Ocean, John Legend, Bon Iver and Kanye West. [Source]
The Anton Corbijn-directed music video for “Personal Jesus” is his first Depeche Mode video in colour, and features the band in a ranch (suggested to appear as a brothel), placed in the Tabernas Desert of Almería, in Spain. MTV edited out some suggestive mouth movements of Martin Gore during the bridge and replaced it with some other footage from the video. The song was inspired by the book Elvis and Me by Priscilla Presley. According to songwriter Martin Gore:
It’s a song about being a Jesus for somebody else, someone to give you hope and care. It’s about how Elvis was her man and her mentor and how often that happens in love relationships; how everybody’s heart is like a god in some way, and that’s not a very balanced view of someone, is it?
Timothy Saccenti directed music video for Depeche Mode “Angel”.
Can you tell us a little bit about how the concept for the “Angel” video come about?
It’s rare that I do an in-studio type piece, most of my work is quite art directed and conceptual, so I was drawn to the idea of trying to translate that into this studio situation. I went into meet the band and was inspired by their energy in the room, they are amazing musicians and you feel it the moment you walk in studio. I actually felt this side of them hadn’t been shown very well, so that was my main concept, show this energy… not knowing where it would take me. After filming it, the amazing editor Dayn Williams and I dedicated a large chunk of our lives carving out the film. I think we accomplished our goal on that one. [Source]
London may not have a glut of post-dubstep psych-pop trios, but if they did, Darkstar would be the kings of the scene. After planting a flag for their distinct sound back in 2010 with debut LP on Hyperdub, North, the fellas signed to Warp for their upcoming album News From Nowhere, due February 5. We’ve heard the lush cybernetic garden that is first single “Timeaway,” plus toyed around with the abstracted song loop snippets “News #1-10″ and their corresponding GIF-like clips, but in the new Yours Truly-directed video for “A Day’s Pay For A Day’s Work,” we get to see a rarer side of this already uncommon group. The camera opens on the three discussing a clutch change: translating their studio-born songs into something playable in person. “It’s all kind of backwards,” says singer James Buttery, “in that we write, produce and make an album, and then we deconstruct that and figure out how we can make it work in a live setting.” Backwards perhaps, but they make it work, with pensive piano play setting the scene for a highly emotive, harmonically sound trip through digitized music that moves to a genuine human heartbeat. [Source]