Full Screen collects all of the remarkable videos we've seen in the day. Today, Absolutely Free lose control, U.S. Girls shakes her fist at the White House and Fiver's "Dayton" is a soap opera without a resolution.
Absolutely Free, "Vision's"
Toronto three-piece Absolutely Free debut a sufficiently psychedelic LeBlanc + Cudmore-directed vision for their hypnotic, krauty composition (the same song they adapted to Norman McLaren's Synchromy for our cameras). The clip begins with the message "video calibration." This is our Chekhov's gun; a sly little flick at what's to come. "Vision's" looks like a studio taping of a '60s variety show, American Bandstand or Ed Sullivan, but something's gone awry: the control room's lost control. The signal's a mess, the broadcast is in shambles, but the band plays on. "If you lose control," they tell us, "go find it." - Chris Hampton
Absolutely Free's self-titled debut is out now through Arts & Crafts.
"Dayton" is another chapter in a fruitful ongoing collaboration between avant-garde Toronto portrait artist Jeff Bierk and singer/songwriter Simone Schmidt a.k.a. Fiver. Moody double-exposed shots of Schmidt serenade a sulky love affair with time and place, as montages of middle-class white suburban living set the tone of a darker submerged reality beneath the surface. On its face, “Dayton” sounds like a calm country tune about turning over a new leaf, but as the song goes on, the morose expressions of the '80s-era characters of Coronation Street (the UK’s longest running soap) tell a different tale. We're also seeing a more conventionally feminine side of Schmidt than her usual gender-subversive attitude; she's called "an uncomfortable femme" in the credits. - Ebyan Abdigir
"Dayton" is from the LP Lost The Plot out now via Triple Crown Audio Recordings of Canada
U.S. Girls, "Damn That Valley"
Meg Remy is based out of Toronto now, where she lives with her husband Slim Twig, but her art is still very preoccupied with poking holes in Americana. "Damn That Valley," her first song and video for mega-indie 4AD, brings her to war... or more specifically to the women left behind. Blending her girl group-perverting vocals with a bouncy dub rhythm (part of a collaboration with hip-hop producer Onakabazien), the song adopts the persona of a war widow questioning the justice in her husband's death. Remy's self-directed video transports her to the home of American military machismo, Washington D.C., where she sings her fist-shaking anthem directly at the symbols of her anger and grief: the White House, the Lincoln Memorial, and a particularly phallic Washington Monument. - Richard Trapunski