We’re doing well. Give and take one orange buffoon.
2. Can you talk to us more about your song and new music video for “Hunter”?
The song and the video are based on Kafka’s story The Hunter Gracchus. It’s a fragmented piece of music, just like Kafka’s writing, and we were trying to figure out how Kafka’s character dances to electronic music.
A strange thing happened in the video: without any intention, Mina Nishimura, who choreographed the dance, actually looks a bit like Kafka when she has the makeup on and her hair is spiked.
3. What inspired you to write this song with Kafka in mind?
Kafka’s writing seems to me like a technical, overly bureaucratic manual to the human soul. It was natural that he would find his way into the music.
4. The video is very visual and powerful – tell us about the filming process and experience behind the video? How did you come to collaborate with dancer Mina Nishimura?
When we set out to do the project, I knew that one of the videos would be a dance video. Andrey and Hazuki suggested Mina, who is well known dancer in the avant-grade and Butoh dance circles.
Mina is so mesmerizing that on the first meeting it was obvious that all we need to do is let the camera roll while Mina does her thing. Magically, her interpretation of the song is very close to what what I had in mind, even though I didn’t really have anything in mind.
The shooting was tricky because even though nature has given us her most spectacular blue-green light that day, she also gave us a freezing cold day. On the flip side, this made Mina’s dance even better because her struggle was real.
5. “Hunter” comes off your new EP The Writers Trilogy – what’s the story behind the title?
We set out to do a visual EP in which each track/video is dedicated to a writer. The idea goes back to Nick Caves Murder Ballads in which he wrote a whole album built on medieval murder ballads.
6. Would you call this a conceptual record?
Every record is conceptual. Whether the artist knows it or not.
7. How was the recording and writing process?
After the songs were written, I made demos of the arrangements and went to Yoav Shemesh (our producer) and to Andrey and Hazuki (the film makers). We worked together with Joe (Peri, the drummer) and Sam (Nester, the trumpet player) who turned the raw demos into fleshed out, breathing music.
8. What role does NYC play in your writing?
NYC is not always kind to its artists, but it also drives you to be more creative. There is an endless variety of music and culture so that looking fo a personal voice becomes a huge part of the artistic challenge.
9. This release very much has a ‘visual’ theme to it, and as you’ve called it a visual EP – do you plan to continue with it?
We would love to continue exploring the connection between music and film. We collaborated with Little Cinema at House of Yes in Bushwick where we re-scored cult films. I think its an artistic avenue thats only now starting to be explored.
There are visual albums coming out (Beyoce’s Lemonade is a good example), but it seems that since Pink Floyd’s The Wall no significant developments have been made in the genre.
10. Where else do you find the inspiration for the songs and lyrics?
Ancient Jewish mysticism, and flipping through Instagram.
11. Any plans to hit the road?
Yes! Were working on a small tour for this summer. More details soon!
12. What else is happening next in Late Sea´s world?
Working on new music and waiting for Radiohead to ask us to open for them. Can you pass that on?