Dvein proposed a transgressive, young, and fresh piece for the new Converse line. To do this, they created catapults with unusual objects and bombarded the shoes with different coloured paint.
The piece needed a soundtrack that unearthed the beauty of defiance and randomness. It also needed to illustrate the piece’s visual character.
We agreed that an exact reproduction of well known punk music would be a bad idea. So, we started studying the punk, juvenile, rock and rebel movements.
After some attempts, we figured that there was nothing more punk than defying punk. We deconstructed, chapterized, and manipulated the concept until we took it somewhere new.
How we did it
We recorded a drum beat in a garage and took advantage of the resonance of the metallic door. We started strumming electric guitar strings with Dremel sanding bits, and we set fire to the speakers and amplifiers while we were recording. We also used fragments of Joey Ramone’s voice, altering it with choppers, slicers, and bit crushers…It was then assembled in a very similar way to a Foley track, assigning each sound layer to a texture, a movement, an animation of the visual segment, seeking beauty and resilience in the very destruction of the instruments.
Sound and musical aspects
Bringing the Dremel motor close to the electric guitar pickups created very powerful electromagnetic sounds. We didn’t expect this – but we took advantage of it to give the piece a very electric personality.
We were not happy with the first splashes and squizzes that we tried. We decided to reinforce them and combine them with sounds of metal drums and drum beat breaking, which improved the rhythmic cohesion and gave an industrial texture to the Foley.
Directed and produced by Dvein