Jackson and His Computerband: G.I. Jane (Fill Me Up)

Mrzyk & Moriceau's Erotic Battleground Sets the Scene for the Electronic Eccentric

An anonymous female protagonist takes on a phallic army in Mrzyk & Moriceau’s erogenous epic for Jackson and His Computerband. Taking new single “G.I. Jane (Fill Me Up)” as their starting point, the French directing duo worked with a team of five animators for two months to create a chimerical world of sexual fantasy for the Warp Records-signed multi-instrumentalist. Born Jackson Fourgeaured, the Parisian released his second album Glow in September after an eight-year gap—the long player comes complete with guest vocals from Berlin-based disco absurdist Planningtorock and singer-songwriter Mara Carlyle. “We had no brief; we showed him a storyboard and he said ‘Go,’ he let us totally free,” says Jean Francois Moriceau, one half of today’s featured creative pair whose CV includes videos for similarly outré Gallic stars Air and Sébastien Tellier. “We love Jackson’s song, so the ideas came very fast. We wanted something sex-gore-bizarre, so created this faceless girl fighting against penises that appear from everywhere.” The explosively charged narrative takes in Manga influences and the duo’s trademark pop eroticism, while also providing, as Moriceau opines, a comment on misogyny and female empowerment. “Of course you can see the power of feminism in the film,” he says. “But firstly, we want to entertain.”

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Conversations (2)

  • Christopher Sahnwaldt
    You're censoring comments? How silly. Hopefully, this will go through: A pen*s is actually quite a beautiful part of the body. Just like a vag*na.
  • Christopher Sahnwaldt
    Yes, it's an entertaining video, but does female empowerment really involve cutting off penises? A ***** is actually quite a beautiful part of the body. Just like a *****. Would a video of men ripping open vaginas be a comment on misandry and male empowerment? Oh well, maybe I'm taking this too seriously. Maybe it would be better to just watch the video, have fun, and not think about any contrived political message.

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  • ON REPLAY
    ON REPLAY

    The Last Boxcar

    Chasing Levi’s and Doug Aitken’s Runaway Project Station to Station

    The aspirational evolution of American mythology is documented in director Simon Cahn’s vivid film, The Last Boxcar. Captured on board Doug Aitken’s cross-country train ride and public art project with Levi’s, Station to Station: A Nomadic Happening, Cahn’s story celebrates the ambitious artists involved, including dreamy drone rockers No Age and creative technologist Aaron Koblin, who seek to deconstruct the myth of the American West. “Doug’s idea to bring all these people together to collaborate and share their talents was inspiring,” says French filmmaker Cahn, who has previously worked with Spike Jonze and Lady Gaga. “As a foreigner with a very specific idea of what America represents to me, it was important to mix archival footage with a very current depiction of life in the USA.” Propelled by discussions of pop ephemera and the USA’s changing face, the short finds a spark at the intersection between nostalgia of days gone by and the boundless potential of the digital world. “Aaron’s comments about technology being the new Wild West were really insightful and unexpected. They definitely helped me view the future of American art in a very different way.”

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    Raffertie: Build Me Up

    Vincent Haycock Casts Three Brothers From Compton for the London Producer’s Stirring New Release

    Everything in the video is their real life,” says director Vincent Haycock of the Mays boys, who he cast for this magic realist visual accompaniment to London composer and producer Raffertie’s new track “Build Me Up,” after meeting the youngest brother Demantre while location scouting in South Central, Los Angeles. “Every cast member is their friend, son, or cousin, and all the locations are their houses and neighborhood,” explains the filmmaker, whose previous work includes videos for Florence and the Machine, Spiritualized and Calvin Harris. “Most of the scenes were based on what they wanted to do as opposed to me giving them too much direction. The only thing I made up was the idea of death—all the brothers are alive and well.” The occasional special effect adds a surreal, poetic element to Haycock’s fictionalized rendition of the Mays’ intense lives in the video produced by Somesuch & Co, rendering a portrait of the cyclical nature of life while forming a narrative mirror of the looping, primal track, taken from Raffertie’s album due out on Ninja Tune later this year. “One of the aspects I liked most was the idea of turning the breaks in the song’s structure into natural pauses for the voice-overs,” he says. “A musical element was still required here though so I composed some extra music derived from the choral backing vocals.” Next up for Haycock is a video for Rihanna—“It will be a complete 180 degree turn from this project,” he reveals—while Raffertie will release the Build Me Up EP on May 20. 

    You have a background in musical composition—when you are composing, do you ever have visuals in mind?
    Raffertie: Music is very visual for me. Often there are many images that go around my mind when listening to or making music. It happens the other way around as well, when I look at things, and witness events, ideas spring to mind that tend to be musical in nature.

    What music videos or visual/musical collaborations have most inspired you in the past and why?
    R:
    Zatorski and Zatorski and Philip Glass in The Last 3600 Seconds of a Wasp. The film documents the last hour of the life of a wasp, which fell onto its back and was unable to right itself. Set to Glass’ Metamorphosis, the combination of what I was seeing augmented by this music caused such a visceral reaction in me. 

    Have any screen soundtracks left their mark on you of late?
    R:
     I feel that film music has become quite homogeneous, but two soundtracks have stood out recently. The first was the original music composed for Tyrannosaur by Chris Baldwin and Dan Baker. The film is one of the most depressing, harrowing and horrific films I have seen for a while and the music illustrates that exceptionally with its unusual pallet of sounds. The second is the soundtrack of recent British TV series Utopia, which was written by Cristobal Tapia de Veer. Like the imagery of the show, it feels almost hyperreal. Moving from quirky to dark and from abstract to serene, the soundtrack is a timbral adventure. 

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