In this stop-motion animation for Pure Bathing Culture's "Dream The Dare", director Hayley Morris -- along with illustration help from Caleb Wood -- turns what PBC describe as "psychedelic emotional imagery" into psychedelic visual imagery. Full of colors soft and bold, an array of whirling geometric shapes and hand-drawn projections comprise landscapes that are ever-mutating, as a raven flies about in its dreamy world. Below, Pure Bathing Culture and Morris share details about the intention behind this track and video, as well as its mythological inspiration and technical details.

Hayley Morris (Director)

Pure Bathing Culture (Musician)

How did your collaboration first come to form, and throughout the process, how much of an exchange of ideas was there?
Hayley Morris (Director)
Sean Pecknold, who made Pure Bathing Culture's music video for "Ivory Coast", was nice enough to recommend me for the "Dream the Dare" video. I loved the "Ivory Coast" video and song and was really excited to have the opportunity to collaborate with Pure Bathing Culture on this video. I love their music. Dan and Sarah were fantastic to work with. They were drawn to the color palettes I use in my work and the dreamy and somewhat psychedelic imagery from my past videos. They were interested in having me bring this aesthetic into the "Dream the Dare" video. Dan and Sarah also felt that having a hopeful message was very important. From these initial guidelines I formed the idea and developed the style. Once I started production, the band trusted me to do my thing.
Pure Bathing Culture (Musician)
Our friend Sean Pecknold, who is an amazing director and animator as well -- and who directed the video for our song "Ivory Coast" -- shared Hayley's amazing video for the Iron and Wine song "Joy" with us. It's such a beautiful video. We immediately knew that we wanted to work with her. We had one initial conversation with Hayley where we shared a very rough stream of consciousness theme involving the crow, and she completely understood and took it from there. She was communicative about her ideas throughout the process, all of which we loved.

One pervy frog man gets down in the music video for Weaves' "Motorcycle", where vaguely sexual lyrics turn into an animated tale of a naughty amphibian's crotch-heavy love for his newfound motorcycle. This animated short is the product of a collaboration between the band and director Jason Harvey, who, for a change of pace, put away his video camera and took out his Wacom tablet. In the featured Q&A, Harvey, along with Jasmyn Burke and Morgan Waters of Weaves, share their perspectives on meeting, the creative process, and the final horny result.

Weaves (Musicians)

 

Jason Harvey (Director)

Weaves - "Motorcycle" Music Video

 

Moderat, the collaboration between German musicians Modeselektor and Apparat, have returned with this music video by their long-time collaborators, the design collective Pfadfinderei [ fɑ:d'fɪndɜ:raɪ ]. Constantly marching ahead in warp-speed fashion, the "Bad Kingdom" music video mixes and matches a series of blue-lined illustrations that unfold to tell the tale of mankind's cruelty and helplessness -- all the while intending to challenge existing social and political structures. In the Q&A below, the design collective details their experience working on this music video, and we review some of their other works.

 

In the brightly-colored music video for TOKiMONSTA's "Clean Slate", featuring Gavin Turek, adorable creatures galore get beamed down from outerspace as well as give you control over placing their sticky behinds. This HTML5 and Javascript-driven sticker book features and artwork by Overture and interactive directorial skills by fourclops ::). Here, they share with REDEFINE some of the ins and outs of their collaboration and creative process.

fourclops ::) (Directors)

fourclops ::) are an incredible duo consisting of Jeff Greco and Eli Stonberg, who create interactive music videos for unique web-browsing experiences. Their work for MNDR's "C.L.U.B." takes information from your Facebook feeds and integrates it seamlessly into a music video footage.

Overture (Animators)

A two-person animation, illustration, and live performance unit comprised of Jason and Aya Brown, Overture use intuitive and improvisational collaborative processes to "reach creative places neither could arrive at on their own." This dreamy, jiggling piece entitled "Mr. Sandman" features music by The Kleenrz.
 

The Octopus Project have always been lofty with their artistic vision, as we learned when they first told us about their 8-projector, surround-sound performances. It's no wonder, then, that the often overly hoaky art of stop-motion animation finds good articulation in their hands. Indeed, they actually created the music video themselves -- "a product of the The Octopus Project's collective consciousness", according to Peekaboo Records. Thanks to clever editing tricks galore, adorable geometric shapes float across indoor and outdoor environments, tickling the eyeballs with their ever-throbbing movements. According to the record label: "Created, shot and directed by the band, the stop-motion extravaganza was crafted entirely using die-cut colored card stock. Band members meticulously designed each shape in Photoshop then used a cutting machine generally reserved for scrapbooking to cut them out before photographing them in real world settings. The final video consists of over 4,000 separate images." In the full post, The Octopus Project's Josh Lambert answers a few questions about their artistic practice.
 

Watching a singular man or woman perform behind a stack of electronic equipment can sometimes really fail to really pull the heartstrings; it's easy for a showgoer to disconnect when there's a lack of connection between musical output and the actions a performer is making onstage. To combat this, electronic musicians have, in recent times, turned to innovation in the multimedia sphere to add an extra bit of oomph to their live sets. On Flying Lotus' latest tour for Until The Quiet Comes, he worked with long-time friends and animators to create Layer 3, a one-of-a-kind audio-visual experience that takes showgoers through three-dimensional worlds of tunnels, silly cartoons, metaphysical imagery, and biological forms. But more on that later, for his set with Thundercat had much more to offer than just a visual experience; it possessed a massive amount of novelty all-around.
May 24th, 2013 @ Roseland Theatre - Portland, Oregon
"I think as we get older, that idea of magic is just taken from us. There's just less of it and less of it... I really try to just kind of dabble in things that feel magical." -- Steve Ellison of Flying Lotus

 

The music video for "Crescent" is a bizarre piece of work, minimal and almost Lynchian in feel, without much going on save for slow movements and small textural or geometric changes. Directed by Nick Criscuolo, it opens with what look like paintings roaring, like unbridled fires, to be followed by the slow morphing between some unusually magnetic characters (a Frankenstein-like mortician and a space cadet?). The entire music video is largely in greyscale, tinged only by carefully-placed red accents -- but such a color scheme seems appropriate for the melancholy sense of mystery that ERAAS seem to prefer (they'd rather not speak about their music videos, for example). In the full post, you can view the music video for "Crescent", along with the band's previous video for "Ghost". Both live in a similar dreary universe of beautiful confusion, but "Ghost" incorporates some more traditional music video shots of musical performance, well-timed to rhythms, and some fluttering cloaked figures. Directed by Major Jass, a husband and wife duo.
 

Last year, the NSFW video for Kirin J. Callinan's "Way To War (WIIW)" caught my attention with its punk rock Lars Von Trier visual choices. Just recently, the same director, Kris Moyes, released a music video for Grizzly Bear's "gun-shy" -- crystallizing what I would say is the best track from the band's latest offering, Shields, into a sputtering-in-time work of natural and "scientific" strangeness. Expect a compare-and-contrast interview with Moyes about both of these videos in the coming month -- but for now, relish in the animated .gifs and the video's delicious sleight of hand, tripped out subtle magic. Full clip inside, along with an initial statement from Moyes about the work.

 

Liars further the weirdness of their new record, WIXIW, with this insanely bizarre -- even for them -- music video for "Brats". Animated by Ian Cheng, this is 3-D animation at some of its most crass; Elmer Fudd (?), Bugs Bunny (?), and a dumb dog rave to Liars' house beats while humping one another and bumping into Liars themselves. My favorite parts come towards the end, when Bugs (?) seems to be humping just about everything in sight and does backwards and forwards somersaults atop Elmer (?) like a gymnast on crack (!)! Equally good is when Liars start getting down themselves. Spasms and rag doll effects galore! This is disturbing genius! Below the jump, you will find further WIXIW news, album trailers, and the dark music video for "No.1 Against The Rush", directed by Todd Cole.

 

See Our Interview With Liars About WIXIW

Japanese psychedelic pop music is by no means my forte, but when hard working group Yura Yura Teikoku released their album Hollow Me / Beautiful on one of my most reveered labels, I began to take notice. And for a group that had been releasing albums and EPs at a fairly consistent clip since 1992, Yura Yura have taken an unexpected amount of time off since that release of Hollow Me in 2007. In the band's absence, lead singer and guitarist Shintaro Sakamoto has taken on a whole new life, releasing his debut solo album, How To Live With A Phantom.

 

SUMMARY: "The album is never truly inventive, but Sakamoto's personal spin on his varied influences make for a refreshing and honest experience... it's an experience that I might not ever fully understand, but it's a record that I continue to find myself coming back to."