Jansky feat. Defled – Apocalipsi (Apocalypse)

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The dynamic duo, Jansky, brings us an upbeat electroverse/electronic track and music video. “Apocalipsi” (“Apocalypse”) begins with an opening credit of the project and track name that is reminiscent of a late 80s movie. The video then cuts to various clips of objects while the camera slowly zooms out. Clips of a metronome, a gold circular object, a statue of a head, and members Laia MaLo and Jaume Reus take turns in front of the camera as the screen begins to rotate. MaLo is lying down in a field of rocks in the middle of the woods, while Reus is seen staring at his reflection. With careful camera effects, the objects gradually become distorted and eventually, everything is upside down. MaLo’s sensual vocals are a perfect fit to the song, as it grabs our ears and eyes while trying to figure out what is happening the in the video. The use of synths, keyboards, and transverse flute truly bring out the eeriness and the beauty of the track.

Directed and Produced by Joan Guasch
With the Assistance of Javier Mazuelas, Neus Marí and Noemí Garcies

Make-Up by Noemí Garcies (Komposit Studio)
Hairstyle by Izka
Special thanks to Pablo Attfield, Parc Natural de S’Albufera de Mallorca and Fundació Deixalles
Filmed in Palma and Alcúdia in September 2014

Facebook: facebook.com/radiojansky
Twitter: twitter.com/radiojansky
Bandcamp: jansky.bandcamp.com

“Apocalypse” English TranslationEver so soaked stood our flesh / that, as we rubbed, we electrocuted / we were two corpses feeding water / ever so flat stood the waves. / None of the raft’s thirteen holes / ever so dense stood the brine / let pour spirit through the wounds / and infinity hypertrophied / ever so wide stood the space. / Ever so wet stood the space / that I drenched in and I quite fell / down down without a stopping butt / ever so far stood the raft. / None of the seven eyes of scorn / ever so dense was lack of time / saw me become a protorosaurus / and to other stirs I gave myself / ever so vital stood our flesh.

©JANSKY, 2015