Shy Girls - Voyeur's Gaze Music Video
Talk about perfection in voyeurism! This music video for Shy Girls "Voyeur's Gaze", directed by Tony Lowe and featuring Chez Deep drag collective's Bailey Stiles, is a one-take that's all about the setting. Drawing inspiration from Russian webcam rooms, its aesthetic combines those cyber antics with the lives and times of many a boy-crazy teenage girl, to create a hazy wonderland full of stuffed animals and soft pastels. Read on, as Tony Lowe and Bailey Stiles give some words about self-love and empowerment.
Shy Girls - Voyeur's Gaze Music VideoShy Girls - Voyeur's Gaze Music Video

After their collaboration on The Belle Game’s first music video proved natural and compelling in narrative, director Kheaven Lewandowski and the band decided to once again work together on the music video for "River", from their debut album, Ritual Tradition Habit. Much less upbeat than the previous track, "River"'s finds its setting moving from Western countrysides into Japanese cityscapes, as it follows a male sex worker – also known as a rent-boy – through neon-lit streets and into a realistically-documented underbelly of the city. The result is both sensual and raw, leaving viewers curious to know more about the subculture. Lewandowski and The Belle Game’s Adam Nanji discuss the formulation and execution of the music video, as well as the social ideas it stirs up, in the bi-lingual English-Japanese Q&A interview below. Japanese translation by Katch, Matt Erik and Yoshiko Sanda 日本語翻訳:三田佳子、キャッチ・マシュー

The mythological quest to express the sublime through the human body can be the great mystery and significance of dance. The grace and emotive gravity of dance inspire us to explore shared resonance and to comprehend our substance through a most intimate artistry. Yet we are ever limited by our human bodies, those endlessly elusive entities that enrobe our vocabularies and begin and end our extraordinary worlds. Butoh dancing (舞踏) is an expression of body that has found relevance outside of its roots in Japan, across cultures and generations.
Originally known only as the "dance of darkness" or "dance of death", Butoh has evolved into an encompassing expression of every element to be found through the human body. It does not transcend the human form or express a superhuman consciousness, but challenges us to comprehend ourselves through a different mentality. Despite the fairly recent origination of this dance form, it has quickly appealed and demonstrated that it speaks to something common within us, however we may allow our cultural and geographic borders to define us.

A Background on Butoh

tatsumi-hijikata Kazuo Ohno © H. Tsukamoto Dance is a corporeal poetry that speaks to us through sensual body memory and intangible thought, thus communicating experience and expressing ideals. We may, for instance, find the most exquisite aspirations to perfection in the sculptural forms of ballet and the etiquettes of ballroom dance -- but what dance is there to speak of anguish and terror? What of the uncontainable spirit that seeps from our grotesque beings in spite of vigilant taboo? Would it not be deceptive to express the most visceral of human experience through only forms of chiseled beauty? Dance that declares itself as an encompassing language for human experience yet speaks from under a veneer of piety for conventional aesthetics is fundamentally dishonest. With passionate protest to the void in integrity of expression and against standards of superficiality, Butoh emerged at the end of the 20th century. It was in the shadow of the nuclear bombings of Hiroshima and Nagasaki that Butoh's first breaths were drawn, already shuddering naked and borne by true darkness. Shaped into its ghostly form by dancers Kazuo Ohno and Tatsumi Hijikata, Butoh came to define Japanese avant-garde dance in its embrace of the totality of emotional experience and the absurdity found in the raw body. Ohno and Hijikata composed a new lyric for the human body where nothing was forbidden to experience. The revolutionary spirit of Butoh explored morbidity and sexuality in its most explicit forms. By doing so, it not only transformed the Japanese stage but connected with international audiences and dancers, tantalizing a universal desire for this same purity of expression. Until the '60s, there had been no such dance within Japan that allowed for the communication of the uninhibited body and, as far as technical form, there still exist few such parallels.

Kazuo Ohno & Tatsumi Hijikata

"Butoh, as [with] so many true arts, contains the beautiful spectrum of being. Often these first looks at Butoh are early works of suffering individuals. I have found that once the repressed or taboo aspects of life and the soul are allowed to naturally surface through the body and art, the lightness and loving joy must also be revealed." - Maureen Freehill (Seattle-based Butoh dancer, Artistic Director of "Butopia")

Demon Queen Exorcise Tape Rad Cult (2013) Exorcise Tape is a soundtrack to an ectoplasmic burlesque in the 6th rung, born of a bad break-up, graffiti, and a strip club on 29th street in Tucson. Zackey Force Funk, of the hip-hop collective Machina Muerte, delivers smooth falsetto-sleaze over Tobacco's neon synths and old school beats. Demon Queen have mastered the inverted cross aesthetic and the voice of a billion Tumblrs, layering Satanic imagery over plastic '80s funk.

Tobacco

Black Moth Super Rainbow frontman and solo musician Tobacco is on duty for synth wizardry and production.

Zackey Force Funk

Rocking falsetto hard is this Tuscon-based member of the Machina Muerte hip-hop collective.

 

In the music video for Strangefruit's "Sea of Fog", husband-wife duo Laura Clarke and Matthew Oaten weave together visual cues from David Lynch, Lars Von Trier, and Mikhail Bahktin, as well as incorporating themes of sexuality and visceral natures. The result is a morbid, eye-catching and initially misleading feast of fools. We spoke with both the video artists and the band below, on the process of shooting the music video, as well as its deeper philosophical context.

Strangefruit (Musician)

"Ghosts" and "Tell Me" come from Strangefruit's debut EP, Between The Earth and Sea, which is out now. "Tell Me" was recorded and produced at Abbey Road with Greg Wells (Adele/Rufus Wainwright/Pharrell Williams/Katy Perry), and "Ghosts" was produced by (The Killers, Goldfrapp, White Lies). Stream both tracks below.   "Ghosts" [audio:/wp-content/uploads/2013/07/Strangefruit-Ghosts.mp3|titles=Strangefruit -- Ghosts] "Tell Me" [audio:/wp-content/uploads/2013/07/Strangefruit-Tell-Me-Abby-Road.mp3|titles=Strangefruit -- Tell Me (Abbey Road Version)]

Laura Clarke (Director) & Matthew Oaten (DoP)

Laura Clarke: "Matthew and I have collaborated on several films over the years, but the film I am most proud of to date is a film I made in 2010 called Punctum. Punctum has been screened all over the world, most recently the Brighton Fringe Festival, but also the Young persons Moscow Biennale, the London Short Film Festival and a show called Screen in Barcelona. It follows a young girl's journey from innocence to experience, exploring the liminal space of puberty."

Strangefruit -- "Sea of Fog" Music Video

Please scroll to the bottom of the post for the music video.
"The original concept was that the music video would become almost like an art film. Something powerful, dramatic and theatrical, drawing on my research into psychoanalytical theories revolving around the origins of desire, sexuality and power. Exploring gender roles, the uncanny, the macabre, and Freudian theories of death and sex. I loved the idea of a banqueting table that looked opulent and decadent at first glance, and then upon closer inspection, was a decaying, rotting mess. The vulnerable, naked woman in the center of the feast, being devoured not only by the men, but by women too. The idea being that a feast is always a precursor to either death, violence or sex." - Laura Clarke