Another killer clip from Chris Milk, this one in a hip-hop mode, and what's rarer than a hip-hop vid that doesn't suck? Dubya saying "vitiate"? Nothing's vitiated here; West is "definitely approaching the game from another angle," says Milk. "He specifically wanted to do a POV video where he takes his girlfriend to the airport. I was hesitant, because the POV thing has been done to death. So this is the result of my trying to do something different with it. It's just a happy byproduct that it turned out to be something different for the hip-hop genre as well, I guess." Highlights include the brilliant scene of West going bodily through an X-ray conveyor machine, and a slyly composited greenscreen mirror trick where West carries on in a men's room. Shizzle-ific.
Director: Chris Milk, @radical.media Editor: Livio Sanchez,
Whitehouse Effects: Base 2 Studios
The Stills, "Changes Are No Good"
The Stills are jangle-poppy Montrealers, and this song has great changes, despite the title. Not only that, but the Stills were clever enough, or broke enough, to have their vid expertly cobbled together from live performances, shot on miniDV and Super 8, and enhanced with fairly subtle white artistic doodlings. According to post house Blue Rock, the band had begun to experiment with animated projections that played behind them on stage, with designs inspired by their album artwork, done by New York/Paris-based interactive design/music/production company Surface 2 Air. In the vid, these animations play behind the band as well as working as an added layer of animation over the footage-but they're never intrusive. This ingenuous clip makes most "polished" lip-syncy videos look pathetic.
Director: Dominic DeJoseph, Black Shoe Films Editor: Eric
Bruggemann, Blue Rock Editing Co. Animation: Surface 2 Air
Kasabian, "Reason Is Treason"
Kasabian: electro-indie bad boys from Leicester who named their band after Manson Family member Linda Kasabian. Cute. Squeaky Fromme's on Broadway right now, fellas. But though this song may be poseurishly boring, Scott Lyon's politically charged, twisted verite of a vid is anything but. It doesn't feature the band, which is already a fabulous idea, but mixes file footage, stock footage and God knows what; scenes of riot and turmoil are intercut with frolicking families and cheerleaders, and oddly deskbound baboons, all occasionally treated with preposterous overlays that are strangely unsettling, like a beach-romping little boy with a skull head, or a policeman firing a large Italian bread during a street melee. An irrational delight.
Director: Scott Lyon, Oil Factory Editor: Art Jones, Swordfish
Effects: Dan Sollis