This track is a pondering about domestic violence. Music was made on Amiga 500 with MED: so only 4 mono channels. After 5 tracks I passed to Oktalizer which offered 8 mono tracks.

Like All Eight-Bit Deboned tracks, It's the Loveliest Thing I've Ever Heard is minimal avant electronics similar to Bruce Haack / The Residents outputs.

Subject of video is swines. I like them, they're clever and it's a stupid common place they love to squelch in the dirt. Vietnamese little pigs are clean like cats.

Video is an operatic dadaist inferno - where pigs are menacingly main characters. Not an happy end (as it's my favorite mood), but everybody knows what's a swine destiny (no gory images, anyway). I think also a good video introduction for a live show, to let the people get at once what's the overall climate.

Track is about a great female historical figure, Joan of Arc, juxtaposed to middle east singers, and a quirky muezzin.
I worked with paint effects on some footages about Crusades, Jeanne d'Arc and east europe (looking like a little middle east) singers. Track is, briefly, about the juxtaposition of western guitar arpeggios and middle east vocals.

My intention was putting together women from both sides in Cusades: a western woman, the "étoile" in this case, which dared to act like a male soldier in a demented inquisition environment; and docile eastern singers. They got no moments of glory followed by dying on a pyre, but a continuous subordination, so actually it's a pondering about women's troubles in western or eastern world. Different ways and degrees of cruelty, same patriarchism.

Clip simply follow this scheme and adds a movie picture support. I needed just a couple of days to finish it as it's a "punk" expression in videomaking. This time I tried to catch the result on the fly, without exceeding in refurbishing every single frame. Not a draft, but a quicker language. And a different subject, it wasn't the right place to unleash some After Effects frenzy quirknesses. At the opposite, I worked on slow motion footages, to achieve a relaxed but a little gloomy mood.

I found quite cruel in the last sequence to put side by side Jeanne d'Arc in flames and a smiling singer. It was not intended as a revenge of muslim on a christian, but the cruelty in life itself. While one is dying, the other is enjoying his art.

Song and videoclip are both released by Hox (Gianluca Missero) under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 Unported License.

Thar Desert 2.0 is not only a 720p version of original Thar Desert videoclip: here I added about 150 new animation elements. It turned almost to a different video, more frenzy and with a different final scene.

HD 720p version of original Belief: Wrath videoclip, i just made a few modifications according to the higher resolution (so it's easier to catch little imperfections) and added sparks when hammers hit the anvil/snare.

This is HD 720p version of Belief: Greed videoclip, but his time I used Peyote animation without cyan color, so the result is more crude, and gained more contrast (black on white instead of cyan on light cyan); plus I corrected a couple of dropped frames.

I took St. Petersburg Winter Palace - left empty when Nicholas II and imperial family moved to Alexander Palace - as a hint to depict 1905 russian Bloody Sunday.

Clip is splitted in two parts, and again in two. First there's a description of the palace, and the music is pleasant, romantic and calm. Then piano start to get harsh while the camera moves to old footages. At the end video goes back to Winter Palace for another melancholic sight of empty rooms. during this "central part, we also have two parts: first it's more like we were looking the manifestators through tsar's eyes. The second with a comment from the people's point of view.

This time the clip is more like a documentary than a frenzy series of oddities, quite serious, according to song mood. There are few animations to enrich pics panos; I didn't exaggerate with old times look, with ancient titles (or even black screens with text) and a lot of aged film filters: I used none.

Thar Desert is a 5/4 signature funk metal track inspired by Les Claypool odd basslines but also in debt with Chic's Bernard Edwards. It's something near to funk progressive, with a hammering atonal compulsive riff.

Animation environment pictures were token in Egypt by Alberta Marchiori. I played the track in front of my webcam, took frames of all the positions and cutted up them by photoshop (I had no green screen, unfortunately). I repeated equal position as I really couldn't cut up 1000 frames, or I needed 6 month to finish the animation.The result is quite funny, I look like an hysterical slouching puppet.

Video is splitted in two phases. Despite music is looping on same theme, first part is a virtual travel in Egypt, so environment changes continuously from desert to town and back to desert again, where in the second part the animation slow down pace and keep the camera fixed following weather changes 'til closing.

Soundtrack is third movement in Belief suite from Outskirt, the most avantprog track in the whole record, clearly inspired by Thinking Plague, 5uu's, Cheer-Accident and Henry Cow awesome works - to name a few.
Video part is a fake aged cartoon, an animation titled Peyote I did in '93 to send to some animators contests, about a 60s hippie having a peyote experience on a mexican mesa. It's bare cel animation: I prepared all the frames on paper, drawing them with a large felt tip, scanned and assembled with Macromedia Director. Then I created the throbbing landscape and the trippy visions with a fractal generator tool and some pics. In videoclip version I just added a light aged film filter and some vector distortions with After Effects. I searched for a contrast between the frenzy music underneath and the calm, psychedelic (but quite fink) video support. The overall effect is psychedelic avantprog, so another level of genre melting, obtain through coupling video and music instead of my usual pastiche of genres in sole music. So a step further in my research on video/audio symbiosis.

Song is fifth movement in Belief suite from Outskirt. It's a tribute to "TBA" by Shinu Mazafakingu Ujimushi, an english grindcore band who recorded only that song - better, a first take of a possible song, with horrible recording "quality" - on a Lo-Fi or Die compilation.

I replayed (almost) slavishly same drum sequence, with different timbers and sounds, and recreated the "roaring" with three violas. The result is kind of "Kronos Quartet plays Shinu Mazafakingu Ujimushi". Melody is a single note: the nail-in-your-head snare drum, more metallic than Ulrich's snare drum in St. Anger. I loved the idea: a theme based on a single hit noise.

Video is a frenzy grotesque mix of die-cutted, muppeted, and rotoscoped people watching an Hox Vox concert. The real main character is the audience, and what pass into, through, above, under them. Then in the final part you'll see eventually who, or better, what's playing.

My friend Dario Lastella sent me some DVDs with IfSounds footages about Midsummer Raving, a track enclosed in their (then) namesake record If, a collection of songs from '93 to 2005.
They changed in these days their name from If to IfSounds, enrolled a couple of new band members and decided to give another spin to Midsummer Raving.

To me it was a double challenge: first of all, I had to assemble footages shooted without a storyboard. Second, I usually make videoclips from my most unlistenable / avant tracks (quite masochist, under a commercial point of view); while this track is a melancholic ballad about loneliness and abandon, with no bass nor drums - just voice, guitar, piano and viola.
I pointed on a juxtaposition between B/W and color blasts by still images, slow editing with fades (just one dry cut in 6 minutes), a classical multi-splitted screen. Simple and plain.
I added a drummer video sequence, despite there are none in this track, as Ifsounds with this clip wanted also to present the new line-up enclosing new drummer Enzo Bellocchio.