Dysrhythmia - Post New Video
New York based tech prog metal formation Dysrhythmia unveil a Paul Jeffrey-directed music video for "Plague Delay". The track is taken off their latest studio record Terminal Threshold, released one year ago.
About the video, the artist who made the film Paul Jeffrey had this to say about it's creation: "The visuals for the "Plague Delay" video are unique because they were created, at least in part, by the song itself. The month-long process began by using node based coding to convert audio files from the individual instruments into visual waveforms and then transforming those waveforms into a numerical output over time. This creates a sort of visual conversation with the music more than a purely human directed experience. These mathematical representations of the song were then converted into kinetic, 3 dimensional, abstract environments through a stream of conscious process based on pure aesthetic value. This laid the groundwork of the video, the ever-present geometric light-scape that ties it all together. While this felt like it captured the quality of the music visually, the title of the song was still screaming at us.
"Despite the song (or video for that matter) not being specifically about COVID or times of quarantine, the song's title felt so topical to current world events that it became the spark for the abstract story told here. What follows is essentially a tech-backward/forward (?!!?) approach to storytelling created by mashing, copying, instancing, and displacing low poly 3D models and bringing them to life using motion capture and by hooking them up to the same waveforms mentioned earlier. I was pulling themes from science fiction author Robert Heinlen, manga/body horror artists like Junji Ito and Shintaro Kago and PS2 games like Silent Hill and Zone of Enders. I don't know what the story is - and that is purposeful. It follows a sort of dream logic that plays with themes of mass somnambulism, isolation, transformation, and also references a sort of primordial power. It was really organic working with the band as they reacted really well to my ideas and it was easy for me to play off of their feedback and music, it always felt like we were on the same page. Hopefully I've managed to do some justice to the music itself."
About the video, the artist who made the film Paul Jeffrey had this to say about it's creation: "The visuals for the "Plague Delay" video are unique because they were created, at least in part, by the song itself. The month-long process began by using node based coding to convert audio files from the individual instruments into visual waveforms and then transforming those waveforms into a numerical output over time. This creates a sort of visual conversation with the music more than a purely human directed experience. These mathematical representations of the song were then converted into kinetic, 3 dimensional, abstract environments through a stream of conscious process based on pure aesthetic value. This laid the groundwork of the video, the ever-present geometric light-scape that ties it all together. While this felt like it captured the quality of the music visually, the title of the song was still screaming at us.
"Despite the song (or video for that matter) not being specifically about COVID or times of quarantine, the song's title felt so topical to current world events that it became the spark for the abstract story told here. What follows is essentially a tech-backward/forward (?!!?) approach to storytelling created by mashing, copying, instancing, and displacing low poly 3D models and bringing them to life using motion capture and by hooking them up to the same waveforms mentioned earlier. I was pulling themes from science fiction author Robert Heinlen, manga/body horror artists like Junji Ito and Shintaro Kago and PS2 games like Silent Hill and Zone of Enders. I don't know what the story is - and that is purposeful. It follows a sort of dream logic that plays with themes of mass somnambulism, isolation, transformation, and also references a sort of primordial power. It was really organic working with the band as they reacted really well to my ideas and it was easy for me to play off of their feedback and music, it always felt like we were on the same page. Hopefully I've managed to do some justice to the music itself."
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