I can’t wrap my mind around this new music video. The artist’s name is SBTRKT and the song is titled, “Wildfire.” It’s stylistically like a blend of Asian horror and David Lynch, topped with homages to Barton Fink and Apocalypse Now. I want to like it, but I feel like maybe I’ve just been tricked when it’s over. Music videos these days all have this thing now where they want to build you up to something without ever giving you a payoff.
Next up is Zola Jesus’ “Night.” Let’s be honest, this is essentially a music video remake of Jean Cocteau’s Blood of a Poet crossed with Orpheus (oh, if he only had access to color film back then).
Lastly, there’s the new video for the Girls’ track “Vomit.” Seriously? I shot stuff like this when I was in high school and first started driving – I just didn’t have the HD camera and rock music score. How is it that a music video for a rock band can actually be boring? Don’t get me wrong, I like a shiny ’68 Mustang just as much as the next guy, but I don’t need three minutes of slow dolly shots around the fender. This is just an abomination. Hey Christopher Owens, next time you want a music video, give me a call and I promise I’ll give you something more exciting and original than whatever this drivel is. It almost hurts me to repost it here, but here goes…
Why does nobody make music videos that are original or inspiring anymore?
When Nadja, the rebellious, parentally oppressed vampire weightlessly glides through the empty Pixelvision streets around her and causes an unsuspecting male to bleed from the inside out, just by looking at him intently – all to the score of the maliciously depressing Portishead – I can’t help but think this is quite possibly the best updated vampire tale filmed to date.
Almereyda’s (dare I call it) piece of art is shot in part using an obsolete Fisher Price Pixelvision camera. This, first of all, is just unique in and of itself. Secondly, the film retains it weirdo, indie cred by having an executive producer by the name of David Lynch (who also appears as the receptionist in the morgue), because c’mon folks – even if he had final cut on this, it’d still end up being surreally amazing! Go ahead and add me to your list of bloggers who are Lynchians, I know it’s nothing surprising.
Nadja is a modern horror story with a classic taste. Nadja is not happy with her life as a vampire (are they ever?), and it comes from being part of a dysfunctional family of them. With her father’s death, Nadja is finally free of the restraints of her seemingly in denial-that-they’re-vampires vampire family. No one’s going to tell her when and when not to suck the blood of the living, be damned! The best brush stroke-of-genius either Lynch or Almereyda or somebody had was the artistic caress that softens the blow of an otherwise hard-to-swallow (or rather, conceptualize) modernized vampire film. The haunting images transformed into a black and white mosaic are a veritable flashback to the chiaroscuro horror of Begotten.
Vampires have always symbolized an expression of humans innermost desires, reducing us to mere blood cells. Nadja, in all her Fisher Price expressionism, literally reduces humans to blood cells.