"La Jetée" deals with obsession - it’s inspired by the experimental French science fiction short film „La Jetée“, in which obsession makes the protagonist blind to his own death. In the song, blindness is used consistently as a metaphor for obsession, and at the same time as a consequence of obsession. This lack of sight is characterized by an unstructured but nevertheless emotional dance choreography. The camera and the viewer act as a dancing partners, following the blind dancer in the video closely. The viewers’ perspective constantly evolves throughout the video as they recognize the different formations that the band are playing. The musician’s glances are finally brought into the foreground in slow motion. And in between it all, the video allures to the other two layers of storytelling in the series by interposing its very own actors.
A Reverie, 1890
“A Reverie 1890” holds a special place in our minds, musical as well as meaning-wise. It’s the second single from our album, but the first to introduce our upcoming mini-series accompanying our album. “A Reverie, 1890” is based around the emotion of “Surprise” and furthermore it deals with the concept of “confusion”. It’s about somebody who’s sure they’re in the right place and is totally immersed in what they are doing. A man in football clothing, exercising and working on this football skills – but in an unfitting surrounding that unsettles the depiction of a mundane activity. Pictures of mental illness and bewilderment are evoked. Portraying sports in a strange setting is a way, our way of presenting an abstract way of the concept of “confusion” and “surprise” as an emotion.
"The Parnassus" was inspired by the eponymous fresco by Raffael – the theme of the artwork is captured both visually as well as lyrically. The video’s focal point lies on the interpretation of a tapestry from 1815, exhibited in the fine arts academy in Munich, depicting the very same fresco by Raffael. Actor Timocin Ziegler, known for his work at the Münchner Volkstheater, models himself on the subjects of the different tapestries – at first he reconstructs “the Expulsion of Heliodorus from the Temple” by shadowboxing, only to tiptoe onwards to the peak of creativity, dancing, towards the mount Parnassus. His performance simultaneously unsettles and ecstasizes by seamlessly switching from interacting with the band and the tapestries.