Canada

Tame Impala "The Less I Know The Better" (Canada, dir.) [NSFW]

Teenage love can be tricky when it involves the star basketball player, the head cheerleader and the team's apeman mascot. And it can exquisitely trippy and beautiful when told by directing squad CANADA with healthy doses of perversion, psychedelia and perfection.

Lope Serrano, CANADA co-director:  "The first thought that came to our mind was to do something colourful and sexy. Pretty close to the psychedelic spirit of the band. Allen Jones, Guy Peellaert and the book Electrical Banana were the first references we wanted to evoke. Pouring paint on an invisible body is maybe the best way to visualize this first insight.

After these first inputs came the character’s playground, the need of a human map where this formal approach could happen. We like to draw and some of our drawings are a mix between soft eroticism and basketball. We not sure exactly why, but we like this aesthetic coexistence. The narrative pretext came from this source: a love triangle between a basketball player, a cheerleader and the team’s mascot, an apeman called Trevor. Obviously, we were working through the lyrics of the song at this stage.

Even though the narrative side is not the heaviest part of our proposal (and the music video code often invites you to a pleasant narrative disconnection) we were interested on establishing, at least, a stream of interest between the characters: he loves her but she prefers another one, so, as the title says, the less this guy knows about her and him, the better. Which is something quite difficult when precisely you’re aware of it.

The point of view of the song, however, seems to take the drama out of the issue. So, balancing the whole thing, we hope that the final work, ironic, colourful and hairy, wins the battle of being interesting beyond the plot line."

Trying To Be Cool with Phoenix, Canada and a Double-Dutch One Take Video

Imagine a funhouse designed by an acid-eater fan of Rube Goldberg, Andy Warhol and Salvador Dali. Then imagine precisely plotting out a one-take video filled with delightful nonsense. Then, halfway through, you say fuck it, and the dancers come out for a huge routine that would make Stanley Donen proud (or envious).

But, wait. Throw all that away. What's really going on here is a controlled experiment in chaos. Two cameras taking turns shooting a continous 16 beats for a one take "relay race" of a one-take video.

I like to think it's a comment on the continual one-upmanship in the music video world. You need a stunt to get noticed and after a while you're faced with the challenge of what comes next — go ask OK Go, who went from backyard dance routine to dance routine on treadmills to a Rube Goldberg extravaganza to a dog ballet to a musical roadshow to, shit, let's just let the fans make a video.

It's a forever escalating/exhausting war of trying to cool and get attention, with every victory more shortlived than the last. And that is a very beautiful, or scary thing. 

WATCH IT: El Guincho "Bombay" (Nicholas Mendez, dir.)

The universe according to Spanish musician El Guincho and director Nicholas Mendez is sex, music and weirdness. And, weirdly enough, the more than occasional shots of nudity (boobs) are nowhere near as sexual as a lot of the other images here. Set up like some bizarro old educational film where innocent eroticism permeates each and every gag, "Bombay" is roughly 4:40 — tack on another minute if you stick around for the credits, which you probably will — of inspired gonzo sexytime. --> watch "Bombay" (NSFW)