The new music video for Lusine, like the track itself, is almost sickeningly stomach-turning, it’s so beautiful.

Director Christophe Thockler has made an epic opus. The last time we caught up with Thockler, he had set 36,000 photos of melting ice to the chilling music of Ben Neill and Mimi Goese.

This time around, we’ve gone from ice to the titular blood. And that’s lots of blood – enough to attract vampires from a couple of cities away. 5 litters of blood rush through some 15 kg of components salvaged from TVs, phones, and computers, waste turned into what the director dubs “electrorganic” material.

He isn’t just shooting stills this time – but 30 minutes of video and 7,000 photos combine to the result you see here.

Lusine – Arterial from DaBrainkilla on Vimeo.

For his part, Lusine (Jeff McIlwain) is in his usual top form, meticulous and painstaking with his attention to sound. Ghostly’s press release talks about spanning styles, but to me, Lusine’s voice overshadows any particular genre fascination. “Arterial” is pure headphone music, more introspective than the recent The Waiting Room but with the same patiently-humming grooves and Lusine fingerprints. What’s new is an especially exquisite obsessiveness about each sound, synths treated delicately with acoustic noises tucked together. It merits repeated listening, as there are so many harmonious layers of sound design. But the overall texture is McIlwain, a cover of some interior song he keeps reworking.


Really looking forward to this EP.

Lusine’s tour appearances are rare these days, so look to Missoula Montana and The Badlander on August 1 or Le Salon Daome in Montreal September 4.

Here, Thockler’s process in the video I think fits perfectly with Lusine’s approach – not just the aesthetic match, but a conceptual parallel to what the musical artist is doing. Thockler writes:

The complexity of this electronic track, mixing both cold and warm sounds, inspired me to create something I call “electrorganic” : a mix of blood and human tissues with electronic components like LEDs, screens and boards. The result is an intriguing video, where you don’t really know what’s happening, but you can imagine that some sort of electronic machine is powered by, or producing blood.
Movies and music videos from the 80s and 90s were also a source of inspiration for this video, there are some sequences that are very small tributes to audiovisual works I love like Shinya Tsukamoto’s Tetsuo, Coppola’s Dracula, Cameron’s Terminator, Carpenter’s The Thing, Cronenberg’s Videodrome, the music video Digging in the Dirt by Peter Gabriel…

And that synergy is another reason why this summer’s main project for CDM is joining the needless divide between Create Digital Music and Create Digital Motion, in a way that you can still focus on what you care about. More on that very soon – first an editorial explaining where we’re coming from, and then how we’ll get to where we’re going.

  • cooptrol

    The video is awesome. It overwhelms the importance of the music, something very common now that film arts are in their technical innovation peak historically speaking. Sadly, for people who are most interested in music, a good video is just a side anecdote, like when you watch a good movie or read a good book as a simple consumer. If we focus on the track in this video, it is well made as expected, but very cliché and already-heard. The remaining question always is: should electronic musicians still pursue the unknown musical territory, or is electronic music already an establishment genre, part of the status quo of musical tradition?

    • http://v8media.com/ Ian Page-Echols

      I’d say sometimes that the combination can be much better than either the audio or video alone. More to the point though, if you have both a good video and a good song, you’re that much more likely to hook somebody. Everyone’s different and some of us are more visual, and others more auditory. I don’t know if you’re twice as likely to gain popularity, but it definitely can’t hurt.

    • foljs

      “””The remaining question always is: should electronic musicians still pursue the unknown musical territory, or is electronic music already an establishment genre, part of the status quo of musical tradition?”””

      Electronic instruments are just another instrument technology — like pianos are.

      They are not obliged to “pursue the unknown musical territory” any more than pianos are. Or, conversely, pianos are no more condemned to cater to “musical tradition” either.

      Music is about expressing yourself, not about artificially trying to find “new territories” or constrain yourself to “old standards”. Some things we need to express, can be expressed in the form of 18th century Irish ballad. Others might be better suited to a 22nd century electronic drone dirge. It shouldn’t be one or the other.

      “””or is electronic music already an establishment genre, part of the status quo of musical tradition?”””

      There are songs written with guitar, bass and drums that are more cutting edge than songs written with synths and samplers. E.g some 80s Human League ballad is less “new” than some 70’s Kraut Rock experiment.

      So it’s not about the technology.

    • Adam Cahan

      Amen. Though the phrase ‘electronic music’ can also function as a genre term, and in that sense I can relate to cooptrol’s question.

  • Adrew Miller

    I hear many times about Director Christophe Thockler he is a real genius & his technical instruments are very information Electronic so keep it up.
    Thank you for sharing.

  • Foosnark

    I think that video like this reduces the music to “just a soundtrack.” The music enhances the video, not the other way around. I prefer listening to music on its own merits.

    Not to say it wasn’t an interesting video, especially when the stuff started burning/melting.

  • https://www.behance.net/bob_bell Bob Bell

    Like it. Also interested in how you’ll be connecting the 2 CDM sites. Connect Digital Music, maybe? :) Either way, looking forward to it.