Android Lust is a Bangladeshi-born chick known as Shikhee, who does a NIN kind of industrial/goth thing with a whole lotta aplomb, and she comes on here like a female Marilyn Manson, in beguiling monster drag. Not only is this an excellent track, featuring the wonderful refrain "I just wanna see you dead," but the clip, which is filmmaker/production designer/illustrator Daniel Ouellette's music video debut, is art-horror delightful, as Shikhee, on a claustrophobic mirrored cube of a set, gets oral with a knife, drools black blood and agonizes in fabulous frightwear, with costume/makeup by Ouellette himself. She eventually "delivers," via blade, an adult-size, apparently male fetus in a big plastic placenta, and whatever the hell it all means, it's oodles of miserable fun.
Director: Daniel Ouellette, Hungry Man Editor: Garrett Tezanos, Moondog Edit Effects: Robert Morris, Mechanical Whispers
Death Cab for Cutie, "Sound of Settling"
The team known as Tomorrow's Brightest Minds continues to live up to the hype of that great name, with a simple, compulsively watchable visual conceit for equally well- named Death Cab for Cutie (though the Cuties are a bunch of earnest, poignant popsters despite their hellish moniker): A typical gilded picture frame, sitting on an easel, contains the action, which zooms out to another frame and another in a regular rhythm, the comic tableaux constantly changing. The witty imagery offers a wry commentary on the song, which seems to be about aging and conformity, with some very hooky ba-ba-ba's. Picture perfect, you might say.
Director/Editor/Effects: Tomorrow's Brightest Minds, Oil Factory
Frou Frou, "The Dumbing Down of Love"
This is a gorgeous electro-ballad, sung by the gorgeous and fabulously named Imogen Heap, the female half of this duo, but rather than the camera simply lingering on her, it does so via a video-art intermediary: what looks like a bubbling kinetic wash of digital oil paint that makes for mesmerizing eye candy. It was shot in mini DV in Heap's bedroom and created by director Joel Peissig and programmer Andrew Bell via Avid, Inferno and proprietary software, in an 18-month experimental process. They call it "geometrical expressionism using the PiBell effect." Yeah, it's very New Agey, but sometimes New Age can be good. In this case, it can be very good indeed.
Director: Joel Peissig, Notorious Pictures Editor: Chris Wright, Sunset Editorial Effects: Andrew Bell, Method