Sudeten Creche’s Dance is the soundtrack for a Walter Hill opium nightmare, poisonous smoke and twisted mirrors and an almost unbearable feeling of foreboding, like peeking over the shoulder of a filthy raincoat as the hand slides into the pocket fingers blind animals twisting against the ebony handle of the switchblade, feeric lines twist from the four corners of the screen where you behold most voyeuristic and converge towards the pale and palpitating image of the inadvertent victim all white in its soon to be blood-soiled innocence a few metres away, synthesisers screech like brutal beasts crawling in the sewers below the concrete as this eerie tableaux advances towards its unavoidable conclusion. Minimal wave rules ok.
Principles of Geometry’s remix of Poni Hoax’s the Paper Bride is the soundtrack for a Jan Hammer absinthe nightmare, like a carousel of grainy shadows spread across the opressive space of a derelict cul de sac where newspapers swirl to the pipes of a furious wind, a trembling advance barely illuminated by a killer moon that stares from above like a hole torn in the blackness of the sky. Ominous footsteps approach from behind, the perspective shifts blurry and into the silouette advancing from behind, a storm incarnate, tails of a ragged trenchcoat rising in the air like raven wings, the silver glimmer of a switchblade and blood-shot eyes burrowing frantic in the rocky hillocks of an unforgiving face, pupils that expand like oil on water while a smooth voice utters slowly, ‘I am You’
Photos by Felix Nadar