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Behind the Video: Tarah Who? Tells Us All There is to Know about the “Manners” Music Video



Tarah Who? You know who we’re talking about. We’re referring to the one and only Tarah Carpenter, frontwoman of the Los Angeles grunge punk outfit Tarah Who?, who has teamed up with the exceptional Corale Hervé to form one of the most exciting rock acts today. The duo has been receiving a lot of positive feedback for the release of their latest single and music video “Swallow That Pill.” They are making sure that the momentum and goodwill from that single does not subside, with the release of their follow-up single and video “Manners.”

Featuring retro-coloured tinting and a punishing rooftop performance, this video exudes rock n’ roll attitude, and feels a little bit dangerous, like the groundbreaking punk rock acts of the late 1970s. Previous to these two new singles, Tarah Who? has released two full-length records, three EPs, and various singles exuding that definitive raw, old-school energy.

To discuss the music video for “Manners,” the production process, and everything, good and bad, that went on behind the scenes, we recently connected with not only Tarah Carpenter and Corale Hervé, but also music video director Lena Baez, and director of photography Maria Quintana. Get ready for an extremely in-depth look at what goes into the making of a music video.

Any mishaps on set?

Tarah G. Carpenter: “We shot the video the day after the elections. So every time we got a second, we were all on our phones to check if we had had the results yet!

We almost lost our location because we were shooting in downtown Los Angeles, and there were rumours that there would be riots, depending on who would win. We were really lucky because none of that happened, and despite COVID, everyone kept a safe distance and wore their masks at all times, just Coralie and I, obviously had to take them off during the shots.

The only issue we ended up running into was that because of everyone’s schedule we actually shot the music video before recording the final track and we made some changes in the studio.”

Lena Baez: “The exterior scenes in downtown LA and inside the subway were our biggest concern because we wanted to keep it safe for both crew and talent, specially in COVID times. However, we were very cautious; we counted on with very responsible people.”

Maria Quintana: “I think the exterior scenes were our biggest concern, because we didn’t know how it would be outside, elections were happening, a lot of rumors about possible riots and also COVID, we need to keep a safe set. But for me I think the subway was the biggest concern, because obviously we shot those scenes gorilla style”

Behind The Video: Tarah Who? Tells Us All There is to Know about the “Manners” Music Video

Any concepts where you started and, midway through, thought what “The fuck are we doing?”

Carpenter: “So we have worked with Maria for almost four years now I think.. Crazy! Anyway, she has become a friend, but in our eyes, Maria is like a band member. We are a team, she believes in us as much as we believe and trust her work. What I love the most about working with Maria, (outside of her amazing talent) is that I can relax. I trust her so much, that I can just rely on her, doing what she has to do, to make us look good on a picture or on a video. She brings in different directors for each music video, and I tell her, ‘as long as you trust them, I am cool with it.’

Lena is our director of that music video. We had worked with her in the past, she had different jobs on the other videos. I remember when she first told me the concept.. I was like ‘WHAT?’ but then we worked on it, and it made more sense. We could not do or use everything that she had in mind, but I always trust how things end up working out. I really like how it looks in the end. But between you and me… for every music video.. There is always one point when I am like, ‘the fuck are we doing?’ But I keep it to myself or I tell Coco and we are both like, ‘I don’t know… but if Maria likes it… let’s just go for it!’ The thing is that on the other side of the camera, you don’t know what they are actually capturing… so if you trust your DP, you can leave all of those worries behind. Maria and I have the same taste in visuals, I noticed this right away.”

Baez: “This is my first project as a director for Tarah Who?, and it was a lot of fun. When I came into the project, Maria told me about wanting to use the Super 8 and I loved the idea of filming it in downtown LA with a film look; I don’t have much experience with film cameras, but I trusted Maria completely with that matter. Then I listened to the song over and over, gave a lot of attention to the lyrics and then I built a concept around it. Afterwards, we had a meeting in which Tarah told the story behind the music and where it comes from, and we departed from there. I think what makes this video so great is the trust we have for each other, I trust in Tarah’s and Coco’s talent in music and I trust in Maria’s talent for cinematography. It’s a great team.”

Quintana: “I’m very lucky to work with Tarah and Coco, our collaborative work has been growing and we can see the progression of our work during this four years already as partners in crime! For me always is a challenge to make something different, new things for the girls of Tarah Who? And also for me. I’m really grateful with them because they always put all their trust on me and what new concept or idea or crew I’m bringing to the music video. With Lena, ‘Manners’ was our first official project where we worked together and I really loved it. She is always open to collaborate and takes the ideas of everyone in the team and put all that together with her touch and makes a very good concept.

I love that she is super clear about what she wants. I knew since the beginning that I wanted to shoot this music video on film when Tarah told me, ‘I want to shoot this song and I think we can do it maybe on a rooftop.’ I immediately said, ‘yes let’s do that but on film let’s use 8mm cameras and make this happens and we made it! And also I really trusted Lena’s vision. She was on point all the time.”

If money was no issue what would be in your perfect video?

Carpenter: “That’s interesting. I have been DIY for so many years, that I always try to make it work so that money is no issue. Otherwise, you don’t do anything! There are always alternatives, and again, you have to trust the people you work with. You don’t hire a director just because you need a music video. You need to have a reason to want to work with that person. I think… Then you brainstorm the possibilities. There is always an option, and magic that can happen. The illusion of something because it is ‘cinema’ you just need the audience to BELIEVE that it is happening. I guess, some kind of action movie like with cars, chase, explosions could be fun but I don’t even think that it would fit our music (laughs)! But who knows?! Maybe one day!”

Baez: “I agree, cinema is an illusion like Tarah expressed therefore everything is possible to make. It’s about combining ideas and figuring it out, that’s why this is a collaborative medium.”

Quintana: “I think the most important thing is the collaborative work, where not only the band have their ideas, also the director, the DP, and sometimes other members of the crew. Where you share ideas and figure it out how you can make these ideas happen. And I believe we are always trying new things that makes every video perfect. Maybe someday we’ll have some kind of action like fire, cars, explosions…”

Artwork for “Manners” by Tarah Who?

If you could have any guest appear in your video who would you have?

Carpenter: “Well actually, Lena and Rigel (Yaluk) (first AC) are on the music video because we needed extras for the shot of Coralie in the subway. It looked too empty (laughs).”

Do you prefer writing a video around the theme of a song or just going on a warehouse and banging out a live performance?

Carpenter: “Well the best will be to do both (laughs). I don’t really have a preference, both are really cool!”

Corale Hervé: “Yeah I agree, both are always cool but I don’t like narrative like videos. Using a theme, and letting the watcher interpret is more interesting in my opinion. The performance is not always needed.”

Tell us about any good, bad or crazy director or film crew-related incidents.

Hervé: “Well it was actually Tarah, she broke her foot a few days before the shooting of one of our video ‘Numb Killer.’ And she still jumped on the drums for the last shot of the music video and fell on them like at our live shows (laughs)!”

Carpenter: “That’s true! I totally forgot about that! It was funny because I thought everyone understood that is what I was going to do. Maria knows us, so when I said that, she was worried for the insurance but she was like, ‘ok…be careful,’ we did it, I fell on the drums and the whole crew stopped and screamed! Rushed to me ‘are you ok? What happened? Did she collapse?’ I was like, ‘No! I just said I am going to fall on the drums now, so I did! did you get it?!’ You can see it at the end of the video.”

Quintana: “Oh Jesus! It was so funny that moment because obviously, I knew how the shows are with Tarah, and she told me about her final movement, and I was ok, you can do it, just be careful. But I think nobody else was warned about that. So, when Tarah fell on the drums, all the crew were like… oh are you ok? Did she get hurt? Maybe she slipped.”

How does the music inform the video in terms of visuals matching sound?

Baez: “A concept was created from the lyrics, from the story behind it, from the meaning and interpretation that I got from the music. Once I heard the music, I knew what I wanted to do for the visuals. I was looking for a subjective theme combined with a musical performance.”

How important are music videos in terms of increased exposure?

Hervé: “I think in our days, videos are everything! People love to see new videos and it’s a great way to get exposure to potential fans.”

Carpenter: “Well, to me it is just a different way to touch people, right? You have people who are visuals and people who are better listeners, or music lovers they just want music as their own soundtrack. (work out, walking, running, daydreaming, driving, background etc..). Then it almost became a thing for musicians to see how ‘legit’ they were. ‘Cool, you have a CD but do you have a video?’ And the quality, or idea kind of, talked for where your band was at. Now, in a pandemic world, you almost need a video in order to increase your exposure, and at the same time, now is the time because people are more likely to discover you.”

Baez: “Music videos are a form of exposure, they promote the music of the band and their talent. We live in the era of technology where everything is about sounds and images, therefore music videos are essential for the growth of music; they help spread the messages that artists want to share with the public.”

Quintana: “I have two passions in my life, one is the cinema and second one is the music. Before I started working as a director of photography, I was a concert photographer. For me, mixing music with visuals was always one of my biggest dreams. Is always magic how you can translate with visuals a song. how you tell visually what the song is saying, or the meaning of that song. Times are changing, and before maybe the bands didn’t need music videos to promote their music, maybe they needed to shoot one or two, but nowadays you need to be exposed, in some way you need to validate your existence as a band. It’s really crazy how everything is rushing, but I also think it is good because it is making use your creativity and putting you out of your comfort zone.”

How important a role does social media play for sharing videos and increasing exposure?

Hervé: “With every social media being linked together, it’s easier to share something everywhere and potentially reach more people but at the same time it might be the same persons that see it on every social media.”

Carpenter: “Social media is crucial for sharing videos, increasing exposure, reaching out to the world! I like to use different tools, because we all have our favourites. I am a big Instagramer, and I have noticed that we don’t reach out to the same audience on YouTube, than on IGTV or Facebook. With IGTV and the hashtags, I usually get a few new people and followers. It is fascinating!”

Baez: “Social media is in our favour, it’s the best medium we have to promote our art. I agree with them, thanks to it we can reach greater audiences around the world. And there is so much content out there, that it serves as an inspiration as well. In my case, it pushes me to be more creative, to find new ideas and new concepts. It’s a tool for filmmakers.”

Quintana: “Social media is a tool that you need to use in your favour, and is a ‘free tool’ to promote your art. And because you can reach a lot of places and people around the world, social media also pushes me to be more selective with my work, learn from others, interact with other artists, and show my work, share my ideas and make me be more creative.”

How much more effective or beneficial is creating a music video now compared to 20/30 years ago?

Hervé: “With everything available in our days it’s so much easier to create music videos and do what you want.”

Carpenter: “Twenty or 30 years ago? I don’t know! All that this question is making me think of is ‘Video Killed The Radio Star!’ I usually discover songs because I have heard them play. Not because I have found the video. I know that some people know the music videos of the songs they listen to. I actually never check. I usually end up discovering a music video or what an artist looks like because I am practicing the drums. I finish my drum practice with fun songs on YouTube, and then it actually interrupts my rehearsal because if the music video is good, I am captivated and I forget to play!

Sometimes I like a song, and the music video is a little too simplistic in my opinion, but whatever the artist wanted to convey… Some musicians, just want a video up, so that people can discover their songs. I think that for us, it is a tool that we need to promote our brand, our band, a different angle.”

Are the benefits worth the costs and effort involved?

Hervé: “In my opinion yes! If you really have an idea, a good team that you trust, you will make it happened!”

Carpenter: “I agree. I am sure it has happened for some people that it was not the case every time. We have been lucky to have found Maria Quintana who has been working with us for a few years now. We trust her and her vision. She is careful about the budget since she knows we are independent and we have been able to work things out.

We have a lot of fun shooting music videos and now we are a little family who meets every couple of months to do something fun, crazy, and we are building a great relationship and memories.”

Baez: “Yes, always! Making new content is always an adventure; you always learn something new from each experience, and you get to meet new people with new, similar or different ideas than yours. It’s worth it.”

Quintana: “Have a good team and crew behind you, is really a good signal. Because you can work to make new ideas happen. I always take care about the numbers, I really work so that every dollar spent in the project is worth it, because I know the sacrifice behind to make the savings and be also independent in the music industry. But in this particular case with Tarah and Coco, we are like family, we take care of each other and we are always creating new things and looking for new visions.”

Is YouTube (or ‘online-only’ platforms) a good enough platform by itself to justify creating a music video?

Hervé: “I think it’s pretty good yes, everybody watch videos on YouTube. It’s a great way to expose your music.”

Carpenter: “I haven’t had TV since I was 15, I wasn’t even aware that music videos still went on music channels! Tarah Who? is not your mainstream rock band, so you don’t have to be heavier or extreme to not be placed on TV (laughs)! So yeah, YouTube is good enough and as a matter of fact, because of the power of social media and ads, you probably have a better chance to be ‘seen’ (your video) on a YouTube playlist than on TV. I think?”

Is a well-made DIY video just as good or beneficial as a professionally-made/directed video?

Hervé: “I think so, yes. You need to have a vision, an idea for the video and even if it’s DIY or ‘professionally made’ it doesn’t matter. You will create the vision you want.”

Carpenter: “Totally. Simple is better than the full production deal sometimes. You just need to do what is right for the song. It is not because you spend a lot of money on your music that it is going to make it better. For instance, your recording, or mastering. It’s not because you paid 10,000 dollars to record your album that it is better than a home recorded album that only costs time. If you have the right mics, mic placements, and you know what you are doing, it could be just as good. You can pay 10,000 a recording but turns out, the sound engineer didn’t really get the vibe of your project, so everything sounds a little different, but ‘hey! you paid 10,000.’ Great, how are you going to pay for the promotion now?

The same goes for the music videos. It is not because you pay more that you are going to get better results (you could just get overcharged!). Focus on making art and what requires to accomplish your vision. If it just needs one person seating on a chair in mood lighting, to tell the story, then that is all you need to do for your message to come across.

For all I know, you can shoot your music video with your iPhone, it is great quality, you just need a good story or concept that goes with it and a good editor!”

Baez: “It’s all about the idea, it can be very simple or very extravagant. What matters is if you were able to capture the attention of your audience with your vision, and if your purpose is to make art then you most likely did.”

Does this latest video have a concept and, if so, can you elaborate on it?

Carpenter: “Maria likes to use different cameras. we have a win-win relationship. We need quality music videos, and she gets to try different cameras with our MVs. I tell stories of our songs to Maria and I have like flashes. So for ‘Manners’ for instance, I told her something like, ‘I am just picturing a rooftop. The song is about education and religion. I don’t want to have a storyline like a girl who goes to Catholic church, but we need to have sort of like metaphors.’ Then she talks to Lena, and Lena came up with different ideas and breaking the glass that was meant to represent liberation.. Visually, I know Maria wanted to shoot with an 8 mm camera, and I am so glad she did because it looks so cool!”

Baez: “Yes, I took the lyrics as my foundation for the concept. I like working with Tarah, Coco and Maria because they are open to explore new ideas, and I wanted to be subjective. I like to think that this video is open for interpretation, and for me, this is a story about two girls breaking away from the paradigms and norms that are already established. I didn’t want to do a narrative story, therefore I used the glass as a symbol. It represents the standards already implemented in our lives that limit us as humans, and they are as transparent and thick as a piece of glass. It takes courage and strength to liberate yourself from them.

‘Manners’ is about all those limitations that we don’t see, but we follow. This music video explores the before and after of this liberation as well, at the beginning we can visualize two individuals following the routine in a more collectivist environment; towards the end, there’s a change in their attitude and persona, they are finally ready to explore the world by themselves and with no restrains. I’m not against the norms, but I believe that we shouldn’t let them interrupt the flow of who we are and who we want to be.”

How did you put the crew together that helped make this video?

Hervé: “We have been working with the amazing Maria Quintana, photographer and videographer, for a few years now. She is the best and knows what we want. She always has amazing people working with her and our crew for the song ‘Manners’ was Maria, Rigel Yaluk, Nichole Ruiz, Lena Baez, and Nupur Mehrotra.”

Carpenter: “Yes, we are starting to get to know each other, and it is really cool. Our next videos, also and always involve Maria, but working with Lena was actually really nice and simple. She gets really excited and it is adorable to watch! Lena also directed our live sessions and we are currently working on two more videos that she will be directing with Maria. I think they work well together so everyone is happy. I was really impressed with a proposal she has sent to us at a recent zoom meeting. I can’t wait to tell you more about that when the time comes!”

Quintana: “Four years working with Tarah Who? has been the best thing that could happen to me, I really love to work with them. I admire them a lot, because I’ve seen how they have grown as a band, and all the effort and sacrifice they put in the project itself, the three of us are a team/family. But working with Lena has been really nice, working with her has been really good, I’m happy with the result with ‘Manners,’ and I believe now Lena is becoming part of the family, because we are starting to work on two more videos, and I’m really excited. I think she is in the same channel as me, Tarah and Coco.

And for sure we have other members that also are becoming part of the family and team of Tarah Who? Like Rigel Yaluk and Nichole Ruiz, obviously we can not forget our beautiful and best first AC Jude Abadi, who is also part of the team and family but because of pandemic and distance she was not in ‘Manners,’ but maybe soon she will be back with us, Junbai Zhou who is usually gaffer but ‘Manners’ was a small crew and outdoors.”

Did the video have a budget and where you able to stick with it?

Carpenter: “(laughs) Yeah I think we did! You will see, it is a very ‘simple’ video.”

How much of your new video was self-made?

Hervé: “Everything actually! It was really fun to shoot!”

Carpenter: “Yeah the whole thing was.”

Born in 2003, V13 was a socio-political website that, in 2005, morphed into PureGrainAudio and spent 15 years developing into one of Canada's (and the world’s) leading music sites. On the eve of the site’s 15th anniversary, a full re-launch and rebrand takes us back to our roots and opens the door to a full suite of Music, Film, TV, and Cultural content.


Behind the Video: WESSON Discuss Their “Made Me Happy” Music Video

British alternative rockers WESSON join us to discuss the importance of music videos, including their clever new video for “Made Me Happy.”



Wesson, photo by Nicholas O’Donnell

Relatable, meaningful, and just plain catchy, WESSON has been gaining a lot of supporters lately. Beyond individual tastes and preferences, the most important element of being in a band is the sheer feeling of a need to make music. That would describe this British alternative rock band led by singer-songwriter Chris Wesson. The quartet formed under a simple circumstance: four men who needed to make music as part of their everyday lives. They each individually have their own partialities, but passion is what is the motor behind WESSON. Their sound is a mix of pop, punk rock, and indie rock with a gritty rock undertone.

WESSON has been enjoying some breakout success over the last year with a string of successful singles. Fans really began to take notice of the band upon the release of their “Voices” single last year. This was followed up by “Made Me Happy,” an infectious indie rock anthem inspired by personal life experiences. It’s those everyday life events which WESSON successfully are able to tap into. They take a very organic approach to songwriting, which gives their music a very honest twist. Wesson’s ultimate goal is for you to feel inspired to be true to yourself, live the way you want to live, and not be scared to be yourself.

Part of what helped make “Made Me Happy” a hit for the band was its rather original video. We spoke with drummer Dale to discuss the video, the ideas behind it, the creative process, how it came along, and more.

What’s the strangest thing you’ve ever had to do or seen being done during the making of a music video?

“For ‘Made Me Happy,’ we were all wearing black Morph suits and had to do funny disco dance moves. We didn’t choreograph the dance moves; everybody just did whatever they felt like. Also, we were wearing these big masks with the smiley faces on, which was a pretty strange experience! We seem to have a habit of this, as we were also wearing gas masks while performing our video for ‘Breathing In.’”

Was there anything during the making of this (or any other) music video that happened unexpectedly, or you were surprised to learn?

“Chris didn’t realize how the black lights would work with the fluorescent strips. So once everything was set up, and we turned on the black lights, he was really impressed to see how vibrant they were.”

What’s your favourite thing about music videos?

“We love seeing the end result. When the first draft comes back, it’s always a lot of excitement to see how it turned out. We love how filming is like a band day out. It’s an experience, it’s good fun, it’s team building! It’s something that people don’t normally get to do.”

Which genre do you think makes the best music videos?

“We love videos with energy, that are just fun. Pop/punk bands like Green Day, Blink-182, and Sum 41 have videos that are silly and entertaining. They are clearly just having a good time and enjoying themselves.”

Wesson BTS Katie Mayer (@katiemayerphotography)

Wesson BTS Katie Mayer (@katiemayerphotography)

Any mishaps on set?


“During the ‘Made Me Happy’ video shoot, the fluorescent strips weren’t sticking to our outfits. Luckily we had a different type, and that just about worked!

“The dry ice machine in our video for ‘Breathing In’ didn’t have a power cable wired in, so we had to do it on the day.

“We borrowed a motorbike for ‘Stay Or Leave,’ and it wouldn’t turn on. We had to wheel it in, instead of riding it in.”

Any concepts where you started and midway through thought, “What the fuck are we doing?”

“Basically all of them. Especially for Callum and Jimmy. I remember hearing Jimmy once literally saying the words, ‘What the fuck are we doing?’

“The whole band doesn’t always know the full extent to a video concept until the day and so they are sometimes very surprised.

“We were planning a music video recently for our single ‘Second Chances.’ We very nearly all ended up in fruit costumes, dancing around on a greenscreen. In the end, we scrapped this concept, just in time!”

If you could have any guest appear in your video, who would you have?

Sting and Kevin Costner.

“We basically love Sting and The Police, so would love to have him involved one day. We have a song called ‘Call the Police’ which will be on our second album. Sometimes, we joke about how we’d call Sting and get him to come and perform it live with us.

“We’d love to do a big budget music video and have Kevin Costner as the main character. We just think he would fit in with our aesthetic.”

Do you prefer writing a video around the theme of a song or just going to a warehouse and banging out a live performance?

“They are both great and it’s hard to choose.

“Writing a themed video is great because it’s fun to explore the storyline and imagine how it’ll look in the end, then seeing that come to life. It’s good to mess with ideas and it’s exciting to see the possibilities and push our limitations.

“Doing a live performance is easier because it’s less stressful generally, giving us a better chance of having something usable afterwards. Doing a video like ‘Unhappy Ever After,’ ‘Made Me Happy,’ or ‘Breathing In,’ which have some cool visual elements, are a mixture of the two. Which I think is the best thing for us.”

Wesson ‘All We Are’ album artwork

Wesson ‘All We Are’ album artwork

What is your favourite childhood music video, and do you have any secret nods to it in your catalogue?

“‘Take On Me’ by A-ha. This was such a groundbreaking video at the time. I was very excited watching it for the first time at maybe 10 or 11 years old. It was so futuristic!

“‘Money for Nothing’ by Dire Straits. It was cutting edge technology and also looked futuristic. We are just generally inspired by these videos, but haven’t tried to give a nod to them.”

Is a well-made DIY video just as good or beneficial as a professionally made/directed video?

“Absolutely, if you know what you’re doing. What we are seeing at the moment is that a more natural and organic video sometimes seems to inspire our audience more than the bigger budget videos, which creates a separation and makes us seem like something we’re not.”

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Behind the Video

Behind The Video: EB & The Deadlights Talk Through Their Ghoulish “Hollow Eyes” Music Video

In this new Behind The Video interview, shock rockers EB & The Deadlights take us behind the scenes of their new video for “Hollow Eyes.”



EB & The Deadlights

Since the early days of the genre, horror and rock/metal have gone hand in hand with the end result, seeing everyone from Black Sabbath and Iron Maiden to Rob Zombie and Slipknot turning their sinister ideas into visual masterpieces.

Taking inspiration from the likes of Nine Inch Nails and Rob Zombie, Belfast goth/rock crew EB & The Deadlights have put their own twist on the genre for their latest video, “Hollow Eyes.”

Too good an opportunity to pass up, V13 spoke to Ethan to get all the ghoulish details from the video shoot in the latest edition of Behind The Video.

What’s the concept behind the video? Help us to understand the video’s concept in more detail and how it ties into the lyrics.

Ethan: “I (Ethan), for the most part, handled the directing of it, but it is usually a team effort at the end of the day. I always roughly have an idea of what the video will include, and then Luke Carlise, who films, as well as the rest of the guys, throw their thoughts in when they have an idea.”

Did the band have a concept in mind based on the song, or was the video creator given full reign to come up with a suitable visual companion?

“We had this full concept built around the album, but I think if we were to really try and pull it off how we wanted, we would’ve needed about a 5k budget minimum for video, haha! We started this mini concept of all the videos being tied in about this guy who is basically losing his mind and can’t differentiate whether it’s in his head or real. ‘Hollow Eyes’ is the wrap-up of that storyline and sort of shows someone who’s reached the edge of the cliff and decides to jump, for lack of a better term.”

Where was it made?

Carindhu House, which, coincidently, is apparently one of the most haunted houses in Northern Ireland.”

EB & The Deadlights - Behind The Video Photo 1

EB & The Deadlights – Behind The Video Photo 1

What was your favourite part behind the creation of the video?

“All of it, probably. To be honest, this is probably my favourite video we’ve done. The whole day was just very fun, also to see the end product turn out more or less exactly how we visioned it is a very good bonus.”

Based on how this one was made, are you looking forward to doing another?

“Honestly, I personally could give or take videos. I do enjoy them for the most part, but I think if I got told I would never have to do another, I wouldn’t be overly concerned. I’d love to fully take the director seat someday when we have the budget to do so and have actors take part and fully fledge out our own mini movie to our music; that would indeed be very cool, but other than that, I’m not overly fussy.”

Was there anything during the making of this (or any other) music video that happened unexpectedly, or you were surprised to learn?

“Well, the Carindhu House place is extremely creepy and obviously, your mind goes into overdrive in places like that if you start panicking and you thinking you might’ve heard something coming from the opposite direction from everyone, or maybe that’s just me. To be honest, I didn’t look into the location much beforehand. I just assumed it was an old abandoned house, not an old abandoned mansion that was used as a military hospital and is supposedly the most haunted house in the country!”

What should a music video set out to accomplish? Do you feel like yours did that?

“In my opinion, you should be getting more eyes onto the song; putting out a video is all well and good, but if it doesn’t benefit the actual music, which, let’s face it, is your product to sell to people at the end of the day, then it is pretty pointless. I like to think ours have complimented each song they’ve been done for, at the very least!”

What do you hate about music videos? What did you wish there was less of? What could the medium do away with?

“Honestly, as I said earlier, I could get told I’d never have to do another video, and I wouldn’t lose any sleep at night, even though, for the most part, I do enjoy them. I mean, for us, if we aren’t shooting near someone’s house or a bathroom, we have to sit in our cramped cars and try to fumble on a face of makeup, that’s usually quite awkward to get done. Other than that, no real complaints.”

What is one thing you absolutely refuse to do for a video that everyone else seems to be more than happy doing?

“Honestly, again, nothing really. We usually have some form of blood involved in one way or another, and I think I’ve had either a beating or a death to be on the receiving end of in our last 4 consecutive videos, so I’m pretty much open to most things as long as it isn’t a god awful idea.”

EB & The Deadlights - Behind The Video Photo 2

EB & The Deadlights – Behind The Video Photo 2

What is one thing you’re more than happy to do for a music video that everyone else seems to absolutely refuse to do?

“Again, honestly, I’m not too sure. I know some of the guys are a bit standoffish when it comes to using blood, but when you’re in a horror band, there’s not much can be done about that!”

Is there any part of the process you’d do differently now?

“Not really, for things like videos, we’re always usually quite prepared and know what we have to do, and it’s just a case of getting it done. We’ve had a few lineup changes, but I think even the newer guys, like Reuben & Reece, have seen how myself and Mac usually operate at them, and it’s just the general vibe of ‘Right, let’s get this done.’”

Which statement seems most true to you: Music videos are a “high” form of art; music videos are a “low” form of art; music videos can be “high” or “low” art; it doesn’t matter, all art is art; it doesn’t matter, nothing really matters.

“Oof, that got unexpectedly deep towards the end. I think they can be a high or low form of art it just depends what you are doing. Honestly, the video should complement and fit the theme of the song. Like, if we do a song like ‘Hollow Eyes’ then have this big happy, positive video for it, it doesn’t really work. Everything needs to complement everything else.”

EB & The Deadlights - Behind The Video Photo 3

EB & The Deadlights – Behind The Video Photo 3

Any mishaps on set?

“Well as I said earlier about the cymbal stand thing for ‘Heaven Into Hell’, that stumped us a bit. The first video we ever shot for our song ‘Empty Frames,’ our guitarist at the time brought a speaker to play the song through, which didn’t work, which obviously made us all panic, but we got there in the end. I think we’ve been pretty fortunate for the most part, we’ve used a real knife in most of the most recent videos, so I’m honestly just happy no one’s gotten stabbed!”

Any concepts where you started and midway through thought, “What the fuck are we doing?”

“I think that’s just a part of being a band like ours! Honestly, not really we’ve gotten everything done for the most part, but when we looked at the album concept then started planning how to bring that to life, I think we sort of realised that we just didn’t have to budget to pull it off and make it not look terrible unfortunately.”

For more information on EB & The Deadlights, visit their Official Facebook Page.

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Behind The Video: Daedric Take Us into the Haunting World of Their “Coldharbour” Music Video

In our latest Behind The Video interview, Daedric take us into the haunting world of their music video for the single “Coldharbour.”




A creative venture from Dallas/Fort Worth-based vocalist and artist Kristyn Hope, Daedric draws inspiration from an eclectic array of sources, including David Bowie, Anthony Green of Circa Survive, Sia, and the popular open-world role-playing game series Elder Scrolls, from which the Daedric name is derived.

Late last year, Daedric released the haunting music video for “Coldharbour.” In the latest of our Behind The Video series, we sat down with Kristyn to talk about the video, the inspiration, how it came together and much more.

Before you head into the interview, check out the haunting video for “Coldharbour” below

Who directed the video?

Daedric: “‘Coldharbour’ was directed by Brittany Davis, Clay Schroeder, and Kristyn Hope in a collaborative endeavor to bring together striking aesthetics and modern music.”

What’s the concept behind the video? Help us to understand the video’s concept in more detail and how it ties into the lyrics.

“The concept behind ‘Coldharbour’ is recreating an atmosphere found in The Elder Scrolls: Skyrim that feels almost like a cold and desolate hellscape. I wanted to focus on texture and movement to highlight expression and emotion from the song.”

Video Still from Daedric’s “Coldharbour” Music Video

Video Still from Daedric’s “Coldharbour” Music Video

Where was it made?

“We filmed in two locations: a public park/forest and my own kitchen. All of the wide outdoor shots were shot in a mesquite tree forest behind a dog park, where we shot close to sunset in order to achieve a dull twilight look throughout the video. The closer shots of the faces were all done in my kitchen using fabric and an Aztec clay mask for textured effect.”

What’s the strangest thing you’ve ever had to do or seen being done during the making of a music video?

“I’ve done a lot of strange things for the sake of art and music, but I have no shame about it. For this video, I walked around the public park with massive layers of black fabric encasing me, so I’m sure I looked terrifying. A couple kids stopped to ask what we were doing, and I told them I was haunting the woods.”

Video Still from Daedric’s “Coldharbour” Music Video

Video Still from Daedric’s “Coldharbour” Music Video

What should a music video set out to accomplish? Do you feel like yours did that?

“A good music video should tell the story or vibe of the song it’s created and paired with. It should make the audience feel strong emotions or even ask questions about themselves. I do feel that the ‘Coldharbour’ music video echoed the song and enhanced the emotions for anyone watching and listening.”

Is there any part of the process you’d do differently now?

“What would I do differently? I would film when it’s not super hot outside so I don’t feel like I might suffocate and pass out while performing.”

If money was no issue, what would be in your perfect video?

“If money was no issue, I would hire a VFX artist to create hyper-realistic landscapes and creatures to further cement the otherworldly feeling I’m aiming to establish with Daedric’s visual art. I want dinosaurs, dragons, spirits – you name it, I want it.”

Do you prefer writing a video around the theme of a song or just going to a warehouse and banging out a live performance?

“There’s absolutely a time and place to produce a performance-only video, but I will always prefer to fabricate narratives that add to the track. I’ve always been a visual artist, and I don’t think that’s something I can let go of easily.”

Video Still from Daedric’s “Coldharbour” Music Video

Video Still from Daedric’s “Coldharbour” Music Video

Is a well-made DIY video just as good or beneficial as a professionally-made/directed video?

“When a DIY video has the right minds and determination behind it, it can be just as striking as a full-production video. It’s quality over quantity every time, and if you have one brilliant person on a project versus ten unmotivated people, the one person is going to outperform the others.”

For more information on Daedric, visit their Instagram Page.

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