Aled Phillips from Kids In Glass Houses takes us through their new video for'Animals'.
Given that we've taken the treacherous concept-record route with this album, we wanted to make sure that the videos that accompanied the songs and the story, were as visually arresting, interesting and relevant to the story as we could make them.
It is vital for us, that the videos transport the songs into the depraved, post-apocalyptic realm where they belong and give them that sense of theatricality and intrigue that befits them. With this in mind, filming the video for Animals saw us being dragged into an abandoned (and haunted, allegedly) nuclear bunker in the bowels of Kidderminster on a Saturday. A lesser video would have warranted some cries of protest at being run ragged from 7am until midnight, but luckily, we think this one is our pièce de résistance. Our "Wild Boys", to quote our ever-charming booking agent. If we're not awarded the Palm d'Or, I call shenanigans.
We acquired the sought-after services of the insanely talented Nick Bartleet at Pixelloft, who's been at the helm of incredible videos for Pendulum, The Courteeners and You Me At Six. We discussed our grand vision a few weeks prior, over a rather confusing and annoyingly ever-so-slightly delayed conference call. We were our usual dubious selves when we left our idea with the director for moulding and materialising. More often than not, a lot of the concepts we write in our treatments get watered down to satisfy numerous criteria set by various governing bodies and The Man. This particular treatment was even more preposterous and overblown than our usual forays into screenwriting (More Michael Bay blockbuster, less Michael Buble cockduster), so we were prepared to be stopped and strip searched to within a sinew of our being at every checkpoint.
Imagine our delight, then, when Nick encouraged - nay! - insisted we up the ante and throw the kitchen sink at it and paint it in glorious Camdenian-neon, while we were at it. Motorbikes, razorwire, thugs and cyberpunxxxxxx! It plays out a little bit like the opening scene of Blade and I couldn't be happier if I was a pre-tax-bust Wesley Snipes in Oakleys. There was no scaling down or ambitions. We turned up on the set for us to walk, wide-eyed, into a world that, just a few weeks previous, was a vivid pipe dream and a list of visual references scribbled on a scrap of paper in my bedroom. A lot of intricacies and art direction went into the video and Nick and his art department deserve to be showered with glowing praise for taking my unedited, scatterbrained, stream-of-consciousness and bringing it to life in front of our very eyes.
A special nod and thanks needs to be extended to the make up team and all the extras who ventured down and surrendered their Saturday to help make the video. They were all tremendous sports and made this video one of the most enjoyable ones we've had - which is no mean feat when you're faced with an 18 hour shoot.
So there it is. We're extremely proud of it and happy with it and I hope you enjoy watching as much as we enjoyed making it.