We have made the cover of our EP into a small book, filled with lyrics and photographs it is the visual counterpart to the listening experience or the token souvenir after you have experienced us live. Here is our friend and artist Jamie Worsfold, who designed the thing, holding the thing.
We will be doing a small UK tour, dates coming soon. Till then, you can pre-order here.
After screening to a select audience at the Cube on Wednesday night, our video single for ‘Visions of Trees‘ is at last available for all to see. Louder Than War exclusively hosted the online premiere – thanks to Guy Manchester and the team there! You can now share it directly on your own blogs and Facebook walls and so on – and please do. See it here:
Behind the scenes…
A story about the making of Visions of Trees by Annie Hysterical:
My good friend Gem Lye (known to many as the beautiful Burlesque dancer Miss Gemma Sheree) and I often meet for tea and talk about the world, art, music, films. I told Gem we wanted to make a video for ‘Visions of Trees’ and started to explain my idea. At the time I was thinking it should be an animation of a hand drawing the images of the lyrics. She liked the idea, as did Wes our good friend and manager, but then we got talking about films. Gem’s knowledge about films inspired me as she started asking if I had seen this or that.. I hadn’t seen any of them.. they were mostly horror films and I am a wimp when it comes to those. One of the things that always intrigued me about David Lynch’s ‘Lost Highway‘ was the bit about the CCTV footage being a memory the main guy couldn’t remember. The switching of the Patricia Arquette character from wife to someone else is also interesting. The idea of a female character switching between a victim and a perpetrator is nothing new, though. It was only the other day I watched a film that had the lead lady role played by Jean Simmons as a maid, stepping into the shoes of her employers dead wife – wearing her clothes, perfume, hairstyle, etc. Hitchcock’s ‘Vertigo’ comes to mind too. When I was writing the lyrics these were the thoughts floating around that ended up in the lyric as – ‘no image picture maker, no grapevine, let me remember, how it happened‘. There are all kinds of ways we remember things – Cameras, gossip, social media… the character in the song, like the main character in ‘Lost Highway’, is seeking to find his/her own memory unfettered by outside sources. Once Gem and I had talked this through, she suggested I watch ‘Last House on The Left‘ by Wes Craven. His first film as director and writer; full of style, horror and slapstick that I really loved as well – as really horrible bits that I couldn’t look at – the hands in the intestines being one example. Here it is plain that Sadie ‘the animal like woman’ and Phyllis embody the roles of ‘perpetrator’ and ‘victim’ – although she starts out as the ‘rebel’, between Phyllis and Mari the former is definitely the ‘victim’.. Sadie and Phylis informed our characters in Visions of Trees; one hungry and crazed, depicted in front of the orange curtain; and the other frightened, confused, and searching for a memory that the camera tells her she should have. When we were talking through the murder scenes in both films we got to researching real murders in America, mainly, and we were surprised at what we could find. All the real police Crime Scene photos were at the top of Google. We took the photos of the Hillside Strangler serial killer cousins because weirdly they looked something you might see in a Vogue fashion shoot. The positions of these corpses became an inspiration for our murder scenes. We shot the video in Breech Woods outside Bath. We were told a bit about the history by Sarah, a friend of Gem’s, who took me and my friend Millie [also known as Jemima Surrender] on a tour. She told us that it had been a Medieval Plague Burial ground and the wood was said to be haunted. It certainly felt old and reminded me of the woods in ‘Last House on the Left’. We filmed it on two cameras, a Sony TRV20 Digital Video and a Kodak Play Sport DIS. Tom and I filmed it with help from [my daughter] Talula over a period of eight shooting days. There were early evenings in the summer and a day in the winter with the Detectives played by Jenny Howe [who played guitar in Vile Vile Creatures] and Samantha Lowe [ who played drums in Drunk Granny] were involved. I was also interested in the idea that a music video could be filmed by the band rather than the band being filmed. While my brother loves the camera, I don’t really. So, in the video there are always two camera angles. I edited at home on Final Cut express with additional help with editorial tweaks and a final colour grade from our friend Jamie Worsfold who has made our music videos for ’24 Hour Glass’, ‘Maths’, ‘Cycle One’ and ‘Icebreak’. So… that’s some of the story behind our 4 minute film! Check it out and keep in touch… and remember – to keep from fainting, keep repeating… it’s only a music video… only a music video… only a music video…
Hysterical Injury were proud to be part of a fantastic music line-up for Bristol Ladyfest yesterday, our third Ladyfest to date and a wonderful day altogether. It was also great to share a stage with She Makes War again who we first met at Ladyfest 10 in London. Other highlights for us included The Horn the Hunt and Rita Lynch – but it would almost be possible to name every band that played. The Bristol folk set were in full force, too, and sublime.
Ladyfest continues today with exhibitions, workshops and more. Annie has made an installation for the event which speaks for itself, titled ‘For Whatever Reason..(Access)’. The artwork consists of copies of NME magazine from 1989 to 2008 – the piles, as pictured here, are divided according to the visual representations of artists on each cover, as follows:
Leftmost column – female only
Second column – male only
Third column – both male and female
Rightmost column – none
Copies of NME from 1989 to 2008 were donated by Luke Smyth of Ulysses