She ain’t got no one. She ain’t ever had no one.

Throwback Tuesday is not a thing, but here’s a throwback to less bearded times anyway.

This has always been one of my favourite tracks on OUTSIDE THE FACTORY GATES. It always felt like there was something haunting in the spaces between the words, and in the words themselves (I’m not sure another song exists in which a weapon mount is referred to as a source of light rather than a destructive tool).

I can’t really take credit for making the video. I’ve been stockpiling public domain film material for months now in preparation for the epic “making up for lost time” progress report video/semi-documentary thing that aims to cover all the musical goings-on around here over the past two years and change. Every once in a while the right footage meets the right song, and a little standalone video happens.

All I did here was take a chunk of one of Brook Hinton‘s videos from his Trace Garden series and drop “Turret” on top. I added a little fade at the end, because there was more footage than song by about twenty seconds and I didn’t want to chop anything out in-between. It’s otherwise untouched.

The video has nothing to do with the song in a literal sense. But in a strange way, I feel like it works.

Trace Garden is all about Hinton taking these beat-up old home movies from a time he probably doesn’t remember — maybe from a time before he even existed (I’m not sure) — and then beating them up some more, abstracting them, making them even more lo-fi and ancient-looking, until something ghostly happens and the film almost splits apart to allow an accidental fuzzed-out transmission from the other side. The resulting videos tap into the hazy, sometimes painful quality of memories you want to amplify but can’t, because they were never yours to begin with.

I’m not sure I’ve seen anyone else pull that off. Old photographs taken before you were born get close to that sort of thing, but this is like those photographs have come to life.

We recorded this song a little over six years ago. I imagine I wouldn’t produce it in quite the same way today. The mix would be different, and there would probably be more layers to it. But on some level it feels like the video makes it new again, opens it up, and bends the haunting thing that was already there in a different direction.

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