GESAFFELSTEIN “Hate or Glory” and new record, Aleph 10.28.13

French sound producer Gesaffelstein will be dropping his much anticipated debut, Aleph later this month.

Surrounded by violence, music and art becomes a reaction to the environment.

Blood and money. The two are inextricably linked.

The semi-fictional world where this soundtrack skirts reality manifests in the visual accompaniment. Like the video for “Pursuit,” the musical reaction to a mentally decrepit world is made real.

We exist and consume content in a time where all is blowback.

Pursuit. Accretion. Liquidity.

There are of course the technocratic claims of neutrality.

Monsanto gets free reign over our food.

Lockheed makes better machines to remove western soldiers from the combat equation.

The Oiligarchy determines the fate of future generations.

America continues spending billions on narcotics. Illegal and “prescribed.”

These are connections. Leaps I’m making from viewing a video. From an Oulipo approach, I am disregarding the obvious and failing to address the themes critically.

Using this blog, just an echo chamber of my mind. A cement wall to bounce the ball against.

Their [physical] sickness [marginalized people] is a result of structural violence: neither culture nor pure individual will is at fault; rather, historically given (and often economically driven) processes and forces conspire to constrain individual agency. Structural violence is visited upon all those whose social status denies them access to the fruits of scientific and social progress.
—Dr. Paul Farmer

The Pleasure in Abject – GESAFFELSTEIN – PURSUIT

I caught the first 1:40 of this video pre-roll “ad” on youtube for a Savages “Flying to Berlin” video

It has a great many things going on. 

It’s almost NSFW, but deceptively so. 

Here is the set up:

Electro track fades in and we are met by two towheaded aryan children who approach a mysterious black box.

Imagine the pitch for this video.

The director, wearing sunglasses inside no doubt, paints his vision for the artist. 

Boy gets a C-3PO hand. Girl gets a wiry hairdo. 

Cut to Versailles that is now a server farm for the Empire (read: not galactic) and introduce extended family. 

Now sis gets her own C-3PO hand and a super fit bod to match. Obligatory butt shot. Side view with exposed breast.

Her lover is a brunette and she’s a spitter with modest breasts, loose fitting blouse. 

Additional nip view.

Late model luxury sedan. 

Floating Super Drone. 

Camera pull back shows pseudo-scientists in lab coats studying a surveillance screen of angry mostly caucasian youth moshing in slow mo to the electro track. 

Then, inexplicably, the researchers turn and see a floating ball of M-16’s.

Cut to woman laying on marble slab, dimly lit, covered in a grey sheet. 

Dark haired young adult male staring into a mirror back in the Versaille-like palace. 

Back to hanger where we find the C-3PO handed man pointing his finger at a bunch of his clones. 

Cut to dimly lit hanger. Skeleton in sovereign regalia. 

And.

Scene.

The discussion that follows might sound something like this. 

I have no idea what is going on but I like it. It’s like Empire Strikes Back meets Mulholland Drive. 

Yes. It is very disruptive. The electro track is the drone note for the visual melody. 

A dream box holds the images together. The shared imaginings of the siblings spread out in a nightmarish speculative future. 

Brevity and execution of concept make this video powerful. Echoes (or appropriation) of Matthew Barney’s aesthetics (without the masonic/fantasty), JG Ballard and of course Lynch.