Unique cover by Paul Feder “Lose My Mind”
Promotional photo of Paul Feder
Promotional photo of Paul Feder
“Lose My Mind” is the first single to be released from Paul Feder’s debut solo EP “Nightwalk”, released via Aion Records on August 20, 2021.
– Paul Feder
BROOKLYN, NEW YORK, USA, July 23, 2021 /EINPresswire.com/ – Brooklyn electropop artist Paul Feder has announced the release of new single and music video “Lose My Mind”, released on July 23, 2021 on platforms digital. “Lose My Mind” is the first single to be released from Feder’s debut solo EP “Nightwalk”, released via Aion Records on August 20, 2021.
Paul Feder’s debut solo EP, Nightwalk, distils his years of experience creating music with sitar-infused electronic band Charcole Federation and vocoder synthpop project Pico Fermi. Nightwalk’s songs were developed and refined over the course of a year at Battalion Studios in Gowanus, Brooklyn, starting as solo vocal harmonizer experiences, turning into jam sessions with members of the band Jane In Space. Jesse Jensen, Tom Vickers, Andrew Tell and Brian Korpalski. Nightwalk combines sparse and open lyrics with dense and visually evocative synths.
“Lose My Mind” is upbeat, melodic and synth focused. Its release is accompanied by a surreal and dreamlike walk through the city in the official clip.
Learn more about the clip
The music video for “Lose My Mind” premiered shortly before the pandemic hit the streets of Gowanus, Brooklyn. During filming, Paul Feder and Eric Martich (aka Permian Strata) used a generous dose of half-speed videography – Paul sang the song at double speed while Eric shot the video at 60 fps, and in post-production, the footage speed was halved. As a final step, the wild visual effects of Permian Strata have been added. The effects themselves were created very manually, layer by layer, shot by shot. Eric Martich describes his approach here:
The first step was to generate abstract patterns, using audio as the input. With the LZX Industries Sensory Translator module, I converted the audio to control voltage and fed it into the LZX Industries fortress, which generates graphics just like an 8-bit computer. I used its shift register mode to create shapes that mirror the city’s architecture, paired with its âneonâ color palette, which matched the vivid colors of street art featured in the live images. These shapes were then patched onto the LZX Industries Memory Palace, which generated an internal feedback loop, creating the illusion that the shapes were receding into the distance.
The next step was to manipulate the live footage in Adobe Premiere to make part of each shot transparent. In most cases, I have done this by applying a chroma key effect tuned to the blue of the sky. In other shots, I removed all the parts of the surrounding landscape that were a solid color. Next, I composed the abstract patterns behind the live images, making them visible in the transparent areas.
After the digital effects were almost finalized, I added some analog effects to a few of the shots. This involved burning these clips to DVD, plugging my DVD player into the BPMC Fluxus, and plugging the Fluxus into the Blackmagic Intensity Shuttle capture device. By turning a few exploratory knobs, I distorted the analog video signal until it took on unexpected colors. I captured several takes of these analog effects, then inserted the best takes in the final cut.
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