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Metronomy: On The Motorway 

(2010) 

by French directors Jul & Mat for Metronomy. The video shows splashes and blobs of colorful paint being used in accordance to the beat of the music.

How did you get involved in the We Have Band promo?

Jul & Mat: After advertising, we wanted to make video clip (as we love music) , which is why we made On the motorway for Metronomy. That was really about self promotion, to let know to production companies that we wanted to make videoclip. And it worked! So we met lots of production companies and at the same time we heard We Have Band: Divisive and we liked it! This is a chance, but they needed a videoclip, so we entered the competition with the Metronomy promo. They liked our concept, and so we made it! It was a great experience. (…)

 

Tell us about your Metronomy paint film?

Jul & Mat: We first wanted to show what we were able to do, and that we wanted to make music videos. It was a great exercise too! We made it with nothing, but it was so much fun. We had this strong idea to mix painting and music, and finally found this track On The Motorway would really fit the concept. So, we called Metronomy to ask them , and they said ”OK guys , let’s do it”.

 

Source: Young Director Award

 

 

Awards:
Finalist music video VIMEO AWARD 2010 (New York)
Australian Effects & Animation Festival Awards 2010
Underground Cinema summer 2010

 

Source: Jul & Mat

 

 

Metronomy: On The Motorway, handmade, Humor, Video Clip

Reading

Notations 21 (2009) by Theresa Sauer features illustrated musical scores from more than 100 international composers, all of whom are making amazing breakthroughs in the art of notation. Notations 21 is a celebration of innovations in musical notation, employing an appreciative aesthetic for both the aural and visual beauty of these creations. The musical scores in this edition were created by composers whose creativity could not be confined by the staff and clef of traditional western notation, but whose musical language can communicate with the contemporary audience in a uniquely powerful way. (Notations 21 Project)

Rewind, Play, Fast Forward (2010) – The Past, Present and Future of the Music Video by Henry Keazor, Thorsten Wübbena (eds.) brings together different disciplines as well as journalists, museum curators and gallery owners in order to take a discussion of the past and present of the music video as an opportunity to reflect upon suited methodological approaches to this genre and to allow a glimpse into its future. (transcript Verlag)

Sonic Graphics/Seeing Sound (2000) by Matt Woolman presents exemplary work from studios around the world in three sections: Notation analyses the use of sign and symbol systems in creating identity and branding for music artists, recording projects and performances; Material considers how products can package the intrinsic nature of the music they contain; and Atmosphere looks at how space and multidimensional environmeaants can be used to visualize sound. A reference section includes studio websites and a glossary. (Thames & Hudson)

Links

 

SEE ALSO

Jan Švankmajer (*1934) is a Czech filmmaker and artist whose work spans several media. He is a self-labeled surrealist known for his surreal animations and features, which have greatly influenced other artists such as Tim Burton, Terry Gilliam, the Brothers Quay, and many others. (Wikipedia)

Jemapur: AANAATT (2008) is a music video by Max Hattler is a sublime stop-motion animation that hearkens back to 40′s and 50′s abstract films through its geneological exploration of shape and movement with music. Using a static camera and zero digital effects, Hattler, whose previously celebrated films like Collision are definitely digital, adeptly moves into the arena of object stop-motion. In doing so he creates something as intricate and imaginative as I’ve seen in stop-motion’s modern renaissance. (Jason Sondhi)

Hidden Worlds of Noise and Voice (2002) by Golan Levin and Zachary Lieberman with the production of Ars Electronica Futurelab is an interactive audiovisual installation whose central theme is the magical relationship of speech to the ethereal medium which conveys it. Participants in this exhibit are able to 'see' each others' voices, made visible in the form of animated graphic figurations that appear to emerge from the participants' mouths. In the Hidden Worlds installation, users wear special see-through glasses, which register and superimpose 3D graphics into the real world; when one of the users speaks, colorful abstract forms appear to emerge from his or her mouth. The shapes and movements of these forms are tightly coupled to the unique qualities of the timbres and phonemes sung or spoken by the user, thus enabling a wide range of audiovisual play. The graphics constitute a consensual hallucination which is shared by all of the participants. (Golan Levin)

 

A Game with Stones (1965) - original title: Hra s Kameny - is essentially a very early trial run for Jan Švankmajer's later pessimist masterpiece Dimensions of Dialogue, rehearsing the themes of human evolution and self-destruction that would be so eloquently and powerfully stated in the later film. Of course, despite this bleak symbolic message, Švankmajer's animations retain a certain whimsical appeal, a playfulness and sense of visual excitement that is never quite submerged by the director's thematic darkness. (Only The Cinema)

Shift (2010) by Max Hattler is a three minute animation and exhibits influences as disparate as modernist abstraction to industrialisation and German Expressionism. The effect is jarring, and in the Tenderpixel basement a fitting mausoleum for sci-fi exploits played out under factory-esque, conveyor-belt conditions. Max Hattler's work has always been exuberant and anticipatory; Shift presents an abstract apocalypse, hearkening back to the fears of the modern age. It's beautiful, and it's scary, and it's utterly engrossing. (Because Magazine)