“Inspired by the song, I wanted to create something dark and elegant that took place inside of a haunted house. That’s just what the song sounded like to me–a dream-like world of slow-motion, macabre imagery. I also loved the idea of a first-person’s perspective where you are finding unsettling things in the dark with a flashlight–you look even though you don’t want to. This probably comes from growing up on a wonderfully creepy farm. The sisters, roses, and terrified children getting their picture taken were images that I had always wanted to shoot, but didn’t have the right song for. The Gravedigger’s Song worked perfectly.” –Alistair

Indeed, the song’s grisly and brooding sound certainly shapes the visuals and grounds the overall vision of the piece. It’s the perfect soundtrack for a world where otherworldly apparitions run rampant and even adorable little girls might be ghosts. “The Gravedigger’s Song” is a darkly delightful treat. The setting, too, seems to have been made for this project. Built on a secluded hillside near Salinas, CA in 1872, that house has essentially remained untouched since the retreat of its last residents. Still clad in taxidermied heads and dusty Victorian photographs, it’s just the kind of place you’d expect ghosts to play out the lives they were prematurely torn away from. When combined with Alistair’s dramatic visual storytelling, it’s enough to bring us into that timeless dimension where trivialities are stripped away until all that’s left is that tingle in your spine.

CLICK HERE TO WATCH THE GRAVEDIGGER’S SONG

The visceral landscape that Elliott captures allows us to connect to and meditate on each shot individually while also leaving us the agency to string the images together in our own ways. Every sun flare and portrait contains within it a connection to the core of the human experience that’s usually only found buried within a midnight drive or a much-needed glass of lemonade. In a world where we’re forced to constantly tune out the inundation of media and images, the ability to conjure up these feelings is not only unique but also much-needed.

“Colours” exists in two forms, both the original and the Armin van Buuren Remix. Take a look here at the remix and let yourself be consumed by the idiosyncracies that make every day an inestimable experience.

CLICK HERE TO WATCH COLOURS (ARMIN VAN BUUREN REMIX)

So we settled upon Billy, a Masses-born dummy crafted from the finest Goodwill blankets, Trader Joe’s bags, and Duck Tape. We strapped him to the roof of the car and drove around Echo Park, where we managed to stop every quinceañera in its tracks. Then, when it came time for the big burn, we loaded ourselves into a truck and a Prius and headed east. It’d been a rainy couple of days, but the skies were clear and the moon was full so up to the mountains we went. A few creeks and some deserted campgrounds later, we found the perfect spot for our pyre.

When combined with the beautiful ash scenes, the result is a lovely video that celebrates the many ways a group of friends can cope with the loss of a close friend. It’s perceptive, charming, easy to relate to, and definitely worthy of a watch or two.

CLICK HERE TO WATCH “DOG DAYS”

Les Stations Balnéaires leads us into a world where circumstances can change at the drop of a pin. A gang of skateboarders loose on the banks of the LA River grind the pavement amidst a visual feast of colored smoke. Two finely-aged women find their afternoon tea interrupted by a cool downpour. And four twenty-somethings enjoying a rooftop banquet find their feast erupting into a full-fledged food fight. But in one moment they all throw caution to the wind, relinquishing their self-restraint in exchange for a carefree state of joy. As their smiles grow wider and the music swells, the impossible happens and bodies begin to float above Los Angeles.

The power of the video matches the strength of the song, bringing viewers into a state of childlike elation. If you want to learn how to let loose and fly a little, this video is a good place to start. After all, in a world where nothing’s certain, what can you do but enjoy the moment for what it actually is?

CLICK HERE TO WATCH LES STATIONS BALNÉAIRES

Featuring roller chases, mummy monsters, and of course the Baron himself, “Rosebud” is one of those videos that you certainly don’t want to miss.

CLICK HERE TO WATCH THE VIDEO

The woman (Barbie Q.) takes sweet relief in the perfectly pink world that greets her eyes when she awakens from what she assumes to be a bad dream. However, she is immediately plummeted back into reality and away from her delusions of perfection. She is shown the true face of her situation–demonically painted figures illuminated by strobing black lights, furniture that evolves and attacks, skeletal hands that claw and pine for a taste of her flesh…in this place, running and hiding will do no good. When the woman finally musters the courage to confront her attackers she is briefly rewarded with the delusion of her dream world once more, but is again thrust into her nightmare reality.

The frenetic beat of the song meshes with the dark and yet cartoonish style of the video to create a captivating tale of an existence that fluctuates back and forth between corporeal and fantastical. The stylistically inventive video premiered today on Pitchfork–tune in to get the full idea!

CLICK HERE TO WATCH KISS ME BACK TO LIFE

Alex Pelly contributes to the return of disco in her new video for Miguel Migs’ single “Everybody” featuring disco legend Evelyn “Champagne” King (known for early 80′s hits such as “Love Come Down” and “I’m In Love.” In a retro homage to the art of 80′s green-screen, Evelyn “Champagne” King sings and dances in full disco gear against a myriad of sparkling funky backgrounds as a dance party rages on around her. The people oblige to King’s call to dance without hesitation, thus capturing that purely disco attitude–don’t stop, can’t stop, won’t stop dancing.

One instant, people bounce on a floating checkered floor against colorfully changing surroundings. The next, silhouetted figures groove in an updated take on rudimentary green screen technique, emulating the spirit of your favorite funky 80′s videos. As a whole, Alex effectively uses this campy approach to give the song the fun loving treatment it calls for.

CLICK HERE TO WATCH EVERYBODY

On Ditch Plains beach in Montauk NY, director Matt Amato filmed newly-formed We Are Augustines (from remnants of band Pela) playing a midnight jam session around a flickering bonfire. This scene would later become a large part of “Book of James,” the first music video off the band’s debut album, Rise Ye Sunken Ships. The project is an epic and intimate portrait of a troubled soul based on lead singer Bill McCarthy’s brother James (for whom the song was also written). The deeply personal account of the song’s composition and creation is detailed on the We Are Augustines website.

Naturally, with such a meaningful piece, McCarthy was cautious about approaching someone to interpret the story behind the song. After considering some forty directors, the Masses’ own Matt Amato was chosen to undertake the direction of the video. Struck by both the “Born in the USA” Springsteen-esque intensity of the song and the band’s earnest intentions (realized upon their first meeting at the Brooklyn Inn), Matt felt pressured (in a good way) to deliver a video worthy of the song.

He enlisted actor and friend Brady Corbet (who, in addition to being featured in the upcoming films Martha Marcy May Marlene and Lars Von Trier’s Melancholia, also appears in Matt’s Ima Robot video) to star. In every shot he gives a powerfully contemplative performance as a lost soul roaming around outer Manhattan. And, as FILTER magazine recently noted about the piece, ”you don’t need to be a New Yorker to appreciate the beauty and potential magnitude in a journey across the boroughs following a traumatic event.”

As the anthemic instrumentation of the song drives on, the young man’s journey persists, eventually interwoven with McCarthy’s memoriam-like journey to retrace the man’s footsteps. Although the ballad-like song is one to be sung to the rafters, the quiet intimacy of the video shows, in Matt’s words, “how through our memory and our work we attempt to honor the struggle of our beloved and the lives they led.” Though the video itself should be evidence enough of this, Matt describes how many aspects of the project seemed to exemplify this very concept. For instance, while filming on the beach in Montauk, they happened to cross paths with several paper lanterns that had been launched up into the black, starry night. As the band and crew watched these lanterns floating up into the Milky Way, a wave of catharsis swept over them that seemed to encourage the healing process, leaving an atmosphere that’s certainly palpable in the final product.

WATCH “BOOK OF JAMES” HERE

But the fun didn’t stop there! To create the undulating web/pattern visuals, the crew ventured into the realm of Cymatics (the study of visual sound and vibration). They built themselves a Chladni plate that enabled them to send specific sound frequencies through their concoctions, thereby creating some completely unique patterns and some of the coolest science that you will ever watch.

CLICK HERE TO WATCH OBJECTIVE LENS

The end of summer is kind of an odd thing for those of us who live in the land where seasons never change. Sure, the kids go back to school and the beaches clean out a bit, but the sun doesn’t stop shining just because we’ve flown past Labor day. That’s why “bigbright h i g h” by director Ariana Natale for yuk. should be kept on hand at all times to ward off any looming end-of-summer blues. With its psychedelic sound bytes and wonderfully saturated colors, this melting popsicle wonderland epitomizes that eternally warm aesthetic that seems to fit California so well. Featuring some dreamy underwater footage and lots of trippy melting effects, “bigbright h i g h” is the perfect way to carry summer with you all year long.

CLICK HERE TO WATCH “BIGBRIGHT H I G H”

Filmed in the terrific state of Louisiana, “Meantime” certainly isn’t suffering for lack of beautiful shots. Starting at dusk, the video chronicles the Givers’ journeys as they explore the mysteries of the bayou. As they lapse in and out of younger versions of themselves, they rediscover their ability to find adventure around every corner.

From dazzling kaleidoscopic silhouettes to some terrific performance scenes, “Meantime” is that perfect abandoned house adventure that you’ve always dreamed of (complete with a soaring finale). So pitch a blanket fort, grab your flashlight, and check out this great new video.

CLICK HERE TO WATCH “MEANTIME”

“I’m Around” begins with a few punctuated scenes that eventually thrust you into an ethereal world of textures and colors that seem altogether familiar yet somehow perfectly strange. As the breadcrumbs lead you deeper into this wonderland, you’ll find yourself questioning where exactly this place exists. Earth seems like a plausible option until you notice that both the deep sea diver/kosmonaut hybrid and the painted girl are too striking to have come from such an average place.  In fact, watching this video is a bit like being hit with a massive wave of deja vu: though you’ve certainly never wandered through these strange lands, somehow it feels like you’ve been there before. So sit back, relax, and enjoy the dazzling spectacle that is “I’m Around.”

CLICK HERE TO WATCH “I’M AROUND” BY SPIRIT ANIMAL

Yet perhaps the most endearing part of the video is the unwavering trust with which the girl approaches her new friend, the scarecrow.  With his patchy, yarn-wrapped skull and his reflective eyes, he’s not exactly the picture of docility. Still, the girl seems to have no doubts about his intentions–of course they’re going to be best friends!

That’s why it doesn’t matter if you grew up downtown or in the hills–no matter where you spent your summers, everyone remembers that innocent naïveté, that faith in the impossible, that made every day seem full of infinite possibility.  And that’s what makes “Handmade Sun” a video truly worth watching.

CLICK HERE TO WATCH “HANDMADE SUN” ON NO FEAR OF POP

Let’s Go

For the video, Madi wanted to create an “attainable dream state,” visualizing the sense of unrestrained joy that lives within the best of moments.  To express the point of view of the songwriter and musicians in the most immediate way, Matt turned to PowerShovel’s Harinezumi camera, the ideal of which is to capture “laughter and delight” in our daily lives.  Known for its dreamy, color saturated visuals, the Harinezumi’s tiny size makes it the perfect camera for unique moments.  “You are like a child looking forward to a field trip, hoping it won’t rain.”  According to PowerShovel’s philosophy, “a camera signifies hope.”

“I gave Kyle and Madi cameras as soon as I met them, and they immediately showed interest and got super creative with it.”  Matt escorted east coast based Madi and guitarist Kyle Ryan around LA, shooting his own Harinezumi footage while the two experimented with their cameras.  From Venice Beach to Elysian Park, the musicians captured great shots, many of which made the final cut.

Matt also dealt out Harinezumi cameras to fellow artists and friends, seeking authentic summer adventures.  Actor Brandon Lim shot in Hawaii.  Actress Jillian Federman filmed her exploits hiking, rock climbing, and surfing.  Writer/directors Abram Pineda-Fischer and Stanton Dean made use of a first date to shoot romantic visuals in a Minneapolis park.  Photographer Adarsha Benjamin focused on her sister’s visit and a subsequent photo shoot.  Musician Grant Leuchtner shot everything from day to day moments in his apartment to a trip to Magic Mountain.

The footage was fit into the framework of Madi’s creative life, comprised of moments of reflection, songwriting, and performance.  “The song has this whole new life,” says Madi, “and the vignettes punctuate it with so much personality that we would never have been able to witness.”  To further the energy and spirit of the video, The Masses hosted a party and concert for Madi, capturing her performance with luminous, atmospheric photography courtesy of cinemtographer, David Myrick.  The Harinezumi vignettes mixed with HD footage create a piece that is both fresh and nostalgic.

“It was a fun project because every element was set up to seem organic by the time we filmed it,” says Matt.  “Everything did flow together naturally, which gave the camera something genuine to record.  We laughed a lot.”

The video makes its premiere on IFC.  Filled with light, color, and life, Let’s Go captures the beauty of youth, relationships, and the joy that an adventurous spirit can bring.

LET’S GO

Ben Fee and Matt Boman’s new video “Return to Me” for BC X Delivery is a color-infused visualization of the implicit community that lives within the night club.  Propelled by a throbbing dance beat and constantly shifting geometric shapes, the video is filled with a psychedelic energy that immerses you in the surreality.  The feral costumes, make-up and hair styling depict the animalistic nature of man that is revealed only during the adrenaline rush on the dance floor, and the juxtaposition of the club with the desert serves to deepen the metaphor.

CLICK HERE TO WATCH “RETURN TO ME” BY BC X DELIVERY

June Zandona’s new video for Papercranes is a visual exploration of a return towards simplicity.  The images of singer Rain Phoenix running in reverse, juxtaposed with airplanes, evoke the sentiment of a journey both trying and exciting.

The scenes of the performance that dominate the second half of the video portray the band in union with the audience in a throbbing collective of musical enjoyment. The subtle placing of Rain Phoenix among the crowd makes this piece a thoughtful meditation on removing the delineation between musician and music lover.  In the words of the director herself, “narrative is eschewed for a more thematic exploration of being in transition, and the struggle to get back to a place of simplicity and exuberance; to that place where you are able to lose yourself in something completely, in this case music, and be a part of a collective catharsis even if only for a moment.”


CLICK HERE TO WATCH “LONG WAY” BY PAPERCRANES

Pharaohs is composed of Sam Cooper and Alejandro Cohen, with guest appearances by Suzanne Kraft, SFV Acid, Austin of Puro Instinct, Casey Butler, William Lemon III, Soft Soil Music, and Michael Martinson. They continue in the tradition of experimental music performance created by artists such as Terry Riley, La Dusseldorf, Psychic TV and Popol Vuh among others. During their live performances Pharaohs expand their compositions by improvising and re-writing them on the spot. With a combination of sound textures, dance beats and intricate rhythms, the music of Pharaohs has been captivating listeners during their live performances, pushing to new territories as well as traveling paths of the past. Pharaohs released its first set of compositions through the Los Angeles based label Living Tapes in 2009, and has had songs on a number of compilations throughout 2010. The band is currently working on two EPs that will be out in 2011/2012. Please check them out at > pharaohms.com

This VisionVersion was directed by Matt Amato and local Los Angeles musician Grant Leuchtner. Matt Amato is a longtime friend of dublab and also directed our Long Lost VisionVersion at the Velaslavasy Panorama and the Lucky Dragons and Cluster VisionVersions at Farmlab. Grant’s self-expressive music has been previously posted on dublab.  As cool as the Museum of Neon Art already is, Pharaohs manages to make it even cooler with their electro-tastic melodies that serve as a perfect sonic complement to the vibrantly luscious visuals.  Somehow Matt and Grant managed to capture this all on their cameras, the result of which is a truly dreamy video.

WATCH VIDEO

June Zandona’s

CLICK HERE TO WATCH “TIQUEING”

“This is the first video I’ve done where there was only a one-day shoot for the cast. The rest was a journey through multiple levels of reality using different kinds of animation… The song kept coming back to me in pieces. I wrote the chorus structure first with the idea of a late night show but then the protagonist started to become all the characters. The song has this sonic circus-like veneer and the video paints the picture well of a character who is really a cast of characters within himself.”

CHECK OUT “LATE NIGHT SHOW” BY VINCENT MINOR HERE

Extremities premiered on Mashable’s Music Mondays alongside an exclusive interview with Blackbird Blackbird and director Eli Stonberg.  Seeing as it was featured by both LA Record and Fader within 24 hours of its release, it’s probably safe to say the video is worth checking out.

CLICK HERE TO WATCH EXTREMITIES