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@wearethedreameaters
Our new album YEAR END REPORT is streaming everywhere now. It's essentially a compilation of highlights from the last year and a half or so, with the "vagina" version of 3D Printer thrown in for all the people that have been asking for it.
The video for Rot In Hell. I'd been meaning to cut together what we had for this for quite some time - it cuts together footage from 3 different years - the first chorus is '22, the middle chorus is '24, and the last chorus is '23. The full version of the song wasn't even released until late April of '23, so obviously we weren't going to make a full video for it prior to that. Lest anyone think I'm already getting bogged down with unimportant details, this blog is mostly so that I will be able to remember what happened at what time years from now. I don't even know if I'll care. But just in case. I am, it will not surprise anyone to learn, someone that gets caught up in minutiae. So at the risk of being joyless and dry and a chore to read, that is what's being recorded here.
Because of the disparate contexts and differences in styles and approach, the video, to me anyway, is almost like a triptych. Maybe that's self-important, I don't know. I mean, it's DEFINITELY self-important to write a blog about your own work, so what's another couple of steps further in? Again, it's mostly just so that I remember. Because my memory is awful.
I like the triptych style though, I love that a video could be cut together that way. I will probably keep doing that. I'm sure others have done similar things, I'm not claiming to have invented it. Get off my case, will you?
I like that it moves through different contexts, different times in American pop culture - the first chorus like a Sears portrait from the late 70s, the second like the same sort of thing from the mid 80's, and then the last in a time that's hard to define - it feels more contemporary, but it could also be the late 60s, or the late 80s, or even the mid-90s. I like it when time settings aren't clearly defined.
The verses were supposed to have the lyrics displayed in the middle of the screen in the same brush-script font you see at the beginning and at the end, but I somehow managed to export the video with those disabled, only noticing that detail next day when the video went live. I thought about it taking it down but it was already getting views and comments (certainly not enough to allow to be a deciding factor but laziness wins!) so I just kept it up, reasoning that there were certain lines in the verses that were being underlined, in a way, in larger text, and that was still there. And that was enough. And maybe I'll be glad that happened at some point in the future - I feel like accidents are happy more than not - but I was pretty bummed about it when I saw it and I still am, sort of.
Anyway a lot of artists don't talk about their art and this is why, I'm glad to have demonstrated that here, lol. Thanks for watching. LOVE YOU.
From the album We Are The Dream Eaters.
The video for Father is Dead: I like how it turned out. I was a little limited with the footage we had, because I thought half of it was unusable, so I had to work with two shots. Well, OK, three shots - two closeups of EAL and me, and the wide shot of me without makeup, which is only used at the very beginning. Ideally I'd have more to work with because it's difficult to keep things fresh, even for a relatively short song, with only two shots. My hope is that it's entertaining throughout due to it being a pretty solid tune.
As is always the case these days, our makeup was done by the amazing Crystal Lantigua, our 22-year-old co-conspirator. She also shot some of the footage.
technical things:
Shot "like" 709 on a Lumix GH5 with a Sigma 18-35mm lens. At Green Lung Studios, Red Hook, Brooklyn.
Keyed out in After Effects using Red Giant's Primatte.
Edited in Premiere Pro.
Recorded and mixed by the Dream Eaters in my studio, Sinhaler.
Elizabeth's vocals were recorded by her and Jimmy Chaveaux in her studio in Toronto, Beach Bitch.
It was mastered in Boston by Dave Locke at JP mastering.
Recorded in Logic Pro.
Plugins, all vocals:
Neve 1073 adding air and a bump around 3K, 1176 gently compressing and catching the peaks, LA-2A smoothing it out, about 2-3db of gain reduction.
Guitar is a Les Paul Standard (89, stock hardware) with the bridge pickup recorded with the Line 6 HX using their version of a 5150, the EV Panama Red. The sound is almost exactly the brown sound, which is hard to hear in the context of this particular songs, but if you played Unchained with it, it would be pretty close. Of course you'd have to pan it hard left and it would also help to be Eddie Van Halen.
Bass recorded with the Sans-Amp GED rackmount.
The drums are these weird Linn Drum samples that don't sound very much like a real Linn but they really sound fantastic with metal, and the toms are Simmons pads.
I think that's everything. - Jake
From the album The Dream Eaters Quarterly Report: Q325
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everything I touch :: watch our solstice special now
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river of intestines :: watch our solstice special now
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little tremors of terror :: watch our solstice special now
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rot in hell why don't you :: watch our solstice special now
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this is the time :: watch our solstice special now
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straight to the arms of satan :: watch our solstice holiday special now
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subhuman is out today
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satan is with us :: watch our solstice holiday special now
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we're going to midtown.
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we're f**ked :: watch our solstice holiday special now
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nobody cares :: watch our solstice holiday special now
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