Our full album performance of our third album 'Sleep Panic Repeat' has to this date been our most ambitious endeavor. It is a video that not only encompasses the complete album together with us, several guest musicians and our selfmade stagelights, but also shows how the artwork for our vinyl covers came into existence. It is a video that brings everything together and literally connects our artwork to our music, making it a journey to discover our new songs accompanied by the energy of the performance video that ultimately results in the creation of the very record covers that our new album is stored on. Supported by SKE.
“Animals” was the second single of our upcoming album “Sleep Panic Repeat” and was chosen deliberately to show the much wilder and more impulsive side of the album. We thought that this was a good moment after the long break due to COVID-19 and our first, more melancholic single “Black Swan” to really be noisy and loud once again, showing that now is the time to let it all out and regain that long awaited energy. It also serves as a warning to become more careful about social and environmental self-destructive behaviour, and to take many of our challenges ahead more seriously.
"Black Swan" was the first single of our third album "Sleep Panic Repeat" and thus gave the first impression of how our next album would sound and feel like. The song is all about winning back control over one's own life and about embracing challenges that lie ahead. We wanted to make the video consistent with both the song's message as well its overall drifty and lullaby-like sound. This resulted in a video that marked by the deliberate use of repitition and black color, resembling the inevitable setbacks everyone will eventually face.
“Hunt” is a shared music project done by the bands “Ultima Radio” and “Cadû” and aims at bringing together the most prominent musical features of both bands with an array of nine musicians. With regards to content it is a plea to individuality, the song’s protagonist illustrates the Public Enemy of conformity and considers themselves at the end of a cycle which introduces a new era. This is now becoming visible through our session-video, which was produced with Alfred Masal at the Offenes Haus Oberwart - OHO Oberwart. “Hunt” provides insight into the interplay of two bands, whose different influences and instruments are being synergized in one song and now demonstrated in a pure and genuine live-performance.
The video for 'Monotyper' was shot after finishing our music video for 'Limber'. We felt that this was the perfect song to just quickly play along and record due to its very simplistic and straight-forward nature. At the same time we thought that after shooting another well-prepared and rather complex music video it would be visually refreshing to create something very immediate without the use of any narrative. The song itself does have a narrative to share though, and addresses today's very popular individualism and opportunism that often pays little respect to its consequences on one's environment. It calls for more solidarity and the acknowledgement that one's freedom ends where other people's freedom begins.
In "Limber" we wanted to highlight the increasing pressure and expectations that are imposed on people, especially the younger generation, in today’s society. With the emergence and seemingly unstoppable popularity of social networks, the depiction of people’s lives being visible and accessible to virtually everyone, it has become devastatingly difficult to be untouched and unaffected by it. Trends, lifestyles, apps, the mainstream of today’s society often seems to dictate what we are supposed to believe, like and enjoy, trying to make us fit into a predetermined society. Our message in this video is not to fall for these external incentives, to keep control over whatever you want to become. Stay limber.
The video for “Icarus” is our first real-time music video that does not feature any of our band members as actual musicians. Our singer, Zdravko, plays the main part in the video, although his audience takes up a role that is just as important. While talking in front of his rather indifferent audience, he is desperately trying to draw their attention to the need to act fast and to take up a stance in the ongoing global calamity we are all facing but yet many of us ignoring. He manages to attract some of the listeners’ attention, which leads to a growing dispute within the audience and ultimately results in a conflict between the two sides that have established. While some deny the consequences we will all have to face, others line up in front of them, joining Zdravko in singing “we all signed”, pointing out that in the end, this will affect us all.
The song addresses the merging of the often seemingly thin lines between dream and reality, as we all have most likely already experienced it in dreams that felt shockingly real or memories that make it difficult to distinguish between whether something happened in a dream or in real life. To reproduce this experience in the video, we decided not to show any faces. It is the weird feeling of something being off, surreal, incomplete without being able catch any eyes or facial expressions. We break that illusion towards the end where our singer’s face is finally revealed, accompanying his lyrics ‘back to the world I’ll never face’ to sever the lines and snap back into reality.
This time we wanted to create a video that fits the raw and rough power of the song without telling a story so we decided to keep the video just as straightforward as possible. The lighting further contributes to this effect through the creation of a very narrow light cone that displays nothing but the band in an otherwise darkened room. We shot the video from several perspectives to add dynamics and foreground particularly powerful moments in the song. The short sequences in between the scenes are used to intensify both the theme of the song (yes, a rat) as well as the overall energy. The Video was shot and directed by Fabian Erlach and first published on Red Bull Music.
This is the first production that was created externally. The Hungarian studio around Biljarszki Maxim and Sandra Poliakov created this gem for us. It is again a video that strongly refers to the topic of the song because it is very suitable for visual representation. It tells the story of an old man who is filled with bitterness and begins to drown in his own greed, the desire for swallowing everything. His greed and obstinacy causes him to claim everything for himself, which becomes too great a burden to bear and eventually leads to his own blindness. The Video was first published exclusively on Volume.at.
‘Contrast’ has a very story-driven music video that illustrates the regular and rather mundane flow of life that is being disrupted towards the end of the video, meaning that one needs to take things in hand in order to break through (‘You’re gonna have to break through, don’t be a fool’). So it is all about breaking the linearity of life, about acting and not being acted upon. Accordingly, we decided to make a video that illustrates this linearity. We shot the video with a single take and tried to create an impression of constant movement. The music also contributes to this effect with its rather straight beats and guitar riffs that keep pushing forward throughout almost the whole song.
This video delivers insight into our process of creating music, and it ranges from the first time jamming in the rehearsal room to the first live performance where we can finally present our music. It also gives a glimpse of the studio production, of how we work when creating and recording new songs. The footage was recorded to document some of the adventures we had while creating this song until we decided we could use it to make a music video, simply because it would be cool to show what’s happening behind the curtains and also show the faces of the band. You can also see Florian Schnabl in the video, with whom we recorded drums, Mike Wolff at melon FM creative studios, where we recorded vocals and did the mixing, and our Austrian friends Colours of Monochrome, who shared the stage with us a couple of times.
The whole concept of the video is supposed to remind the viewer of a shadow play, like seeing through a tent in the desert. The song was originally written during a trip through the Moroccan desert, so we wanted to make this recognizable in the video. The use of the dancer’s silhouette allowed us to be a bit more explicit but at the same time give it a rather mysterious touch, leaving it to everyone’s imagination. Dance and motion has since then become a distinct feature of our artwork. We also had a very special concert with Krissi, the dancer you can see in this video, performing live to this song.