Ewan Jones Morris’ animation for Cell Song by Fanfarlo explores biological structures

Dezeen Music Project: discoloured images from children’s science journals have been collaged together by videographer Ewan Jones Morris to create this music video for London band Fanfarlo’s Cell Song (+ movie).

Cell Song by Fanfarlo music video

Fanfarlo approached Ewan Jones Morris to create the video for their latest album after seeing his previous work, and offered him the choice of which song to create the visuals.

Cell Song by Fanfarlo music video

“They were exploring a lot of sci-fi concepts with their new album,” Jones Morris told Dezeen. “I chose Cell Song as much for the subject as anything else and the story of the video grew from that.”

Cell Song by Fanfarlo music video

Imagery zooms in and out, showing sections of life forms from microscopic detail, through cellular and tissue levels up to a more familiar, human scale.

During the video, figures and objects transform into strange creatures and the singers’ faces pop-up in bubbles and on screens of vintage TVs.

Cell Song by Fanfarlo music video

The director created the animation from images of children’s science magazines from the 1960s.

“I collect a few different ‘knowledge’ magazines aimed at children, most of them printed in the 1960s – back when kids were into science, cross sections of fungus or who invented the sewing machine,” Jones Morris told Dezeen.

“There’s never a shortage of cell diagrams in biology text books,” he added.

Cell Song by Fanfarlo music video

“I used to spend hours looking through these kinds of books as a kid, and I always imagined something beyond what was actually happening in the pictures, made connections between completely different images,” said Jones Morris. “That’s what I’m recreating, that process of collaging with my brain as I scanned through those books.”

Cell Song by Fanfarlo music video

The visuals were assembled in Photoshop and each frame – 12 per second – was printed out onto paper using an “unreliable” inkjet machine.

“I try and avoid more complicated software because I want to keep everything 2D and a bit wonky,” said Jones Morris.

Cell Song by Fanfarlo music video

He tampered with the ink cartridges so the print becomes uneven, then each page was photographed slightly crumpled or wet to distort the pictures.

Cell Song features on Fanfarlo’s album Let’s Go Extinct released in February 2014.

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by Fanfarlo explores biological structures
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Dezeen Music Project: Microcosmos by Histibe

Kiev-based producer Histibe has sent us this dark drum and bass track called Microcosmos. The track starts off in an eerie, slightly muted fashion before a truly ferocious beat kicks in around one minute in.

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Dezeen Music Project: Empyreal by 800xL

Newport producer 800xL has got a new track out called Empyreal. It’s full of pulsating synths, glitchy drums and odd snatches of echoey vocal samples.

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by 800xL
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Dezeen Music Project: Dumb by Sivu

UK singer-songwriter Sivu has recorded a reworking of the Nirvana classic Dumb, from the band’s In Utero album. True to form, he’s replaced Kurt Cobain’s ragged guitar-playing with a sombre synthesiser drone, which provides a platform for his typically floaty vocal harmonies.

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by Sivu
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Dezeen Music Project: Dumb by Sivu

UK singer-songwriter Sivu has recorded a reworking of the Nirvana classic Dumb, from the band’s In Utero album. True to form, he’s replaced Kurt Cobain’s ragged guitar-playing with a sombre synthesiser drone, which provides a platform for his typically floaty vocal harmonies.

About Dezeen Music Project | More tracks | Submit your track

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by Sivu
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A watery accident plays out in slow motion in Albert Sala’s music video for John Matthias

Dezeen Music Project: water becomes the main character in this black and white music video created by director Albert Sala for John Matthias’s Spreadsheet Blues.

Having never worked with water before, Albert Sala was interested in the different effects he could create to help evoke a sense of melancholy and tenderness he found in Matthias‘s music.

John Matthias's Spreadsheet Blues directed by Albert Sala

Sala was recruited by Matthias’s record label Village Green to develop the proposal for the video.

“As I listened to the first notes of the song, I sank into a nocturnal and rainy atmosphere, and saw raindrops falling on a lake,”  Sala told Dezeen.

John Matthias's Spreadsheet Blues directed by Albert Sala

“Following this train of thought, I started to work with the idea that the main character in this video should be water. I was interested by the possible effects we could achieve with its movement and light changes,” he said.

Each object from the fallout of an accident, which takes place off-screen, appears on the surface of the water, some emerging from underneath in slow motion and some falling from above to create a series of hypnotic scenes.

John Matthias's Spreadsheet Blues directed by Albert Sala

To help control this effect, Sala created a series of platforms for each item to stand on within a cube filled with water.

“It is a visual metaphor in which our character has an accident, causing the realisation that the things that surrounded him in life weren’t as important as he once thought,” said Sala.

“The visual idea of the project was to evoke a sense of melancholy and tenderness, states our character goes through, with the help of elegant and poetic imagery.”

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Albert Sala’s music video for John Matthias
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Dezeen Music Project: 10 Forward by Just Ben

London producer Just Ben has sent us his latest track, a fantastically chilled-out and soulful dance track. In fact, 10 Forward might be even smoother and more funky than Love Sensation, the last track Just Ben sent us. That’s no mean feat.

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Hand-drawn animated music video by Rosanna Wan for Tom Rosenthal

Dezeen Music Project: a little girl drawn with crayons goes on a journey across the ocean in this animated music video by Rosanna Wan for Tom Rosenthal’s track I Like It When You’re Gone.

I Like It When You're Gone music video by Rosanna Wan for Tom Rosenthal

Wan drew all of the animation sequences for the music video by hand on rolls of newsprint and then digitally composited them together.

“It was a very economical process,” Wan told Dezeen. “The kid is on one layer and the scrolling background is made up of all these other looping elements.”

I Like It When You're Gone music video by Rosanna Wan for Tom Rosenthal

Rather than spend time trying to minimise the boiling effect – the wobbly lines that occur in hand-drawn animations because of the slight variations between frames – Wan chose to make a feature out of it.

“There’s a meandering rhythm and melody to the song,” Wan said. “I wanted that same quality to come through in the visuals.”

I Like It When You're Gone music video by Rosanna Wan for Tom Rosenthal

The protagonist’s journey starts in a small sailing boat, before she jumps into the ocean and continues on the back of a giant fish.

“The idea was to illustrate a simple journey, but to have that journey experienced in a new light, turning it into an adventure,” Wan said. “It’s about enjoying your own aloneness and rediscovering a landscape that has come to be taken for granted. That’s how I interpreted Tom’s song, anyway.”

I Like It When You're Gone music video by Rosanna Wan for Tom Rosenthal

Tom Rosenthal is a musician based in London. I Like It When You’re Gone is taken from his second album, Who’s That In The Fog?, which was released last year on Tinpot Records.

I Like It When You're Gone music video by Rosanna Wan for Tom Rosenthal

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Rosanna Wan for Tom Rosenthal
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Hand-drawn animated music video by Rosanna Wan for Tom Rosenthal

Dezeen Music Project: a little girl drawn with crayons goes on a journey across the ocean in this animated music video by Rosanna Wan for Tom Rosenthal’s track I Like It When You’re Gone.

I Like It When You're Gone music video by Rosanna Wan for Tom Rosenthal

Wan drew all of the animation sequences for the music video by hand on rolls of newsprint and then digitally composited them together.

“It was a very economical process,” Wan told Dezeen. “The kid is on one layer and the scrolling background is made up of all these other looping elements.”

I Like It When You're Gone music video by Rosanna Wan for Tom Rosenthal

Rather than spend time trying to minimise the boiling effect – the wobbly lines that occur in hand-drawn animations because of the slight variations between frames – Wan chose to make a feature out of it.

“There’s a meandering rhythm and melody to the song,” Wan said. “I wanted that same quality to come through in the visuals.”

I Like It When You're Gone music video by Rosanna Wan for Tom Rosenthal

The protagonist’s journey starts in a small sailing boat, before she jumps into the ocean and continues on the back of a giant fish.

“The idea was to illustrate a simple journey, but to have that journey experienced in a new light, turning it into an adventure,” Wan said. “It’s about enjoying your own aloneness and rediscovering a landscape that has come to be taken for granted. That’s how I interpreted Tom’s song, anyway.”

I Like It When You're Gone music video by Rosanna Wan for Tom Rosenthal

Tom Rosenthal is a musician based in London. I Like It When You’re Gone is taken from his second album, Who’s That In The Fog?, which was released last year on Tinpot Records.

I Like It When You're Gone music video by Rosanna Wan for Tom Rosenthal

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Rosanna Wan for Tom Rosenthal
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Dezeen Music Project exclusive: binaural mix of Woven Ancestry by Max Cooper

To mark the release of his debut album Human, which came out last week, techno producer Max Cooper has exclusively shared a binaural mix with us, which features the new album’s lead track Woven Ancestry.

Binaural recordings create a 3D sound experience: music seems to come from multiple different directions, as if you were sitting in the room with the musicians. The effect only works if you’re listening with headphones, though. So put on a pair of cans, close your eyes, and immerse yourself in the music!

Cooper recorded the mix, which also features the tracks Meadows and Gravity Well, as part of his 4DSOUND performance in Amsterdam last year. You can watch a video of Cooper explaining the project here.

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of Woven Ancestry by Max Cooper
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