The sound of it all of a sudden becomes much more present. Whenever I go to the beach at night, assuming you're not at the boardwalk or something like that, it's a fucking brutal place. And at the beach that feeling of awe is extended even more at night. You don't go to the Grand Canyon and play exactly, the sense of awe is similar but it's not lived in. So there is this kind of playful mix of play and silliness with the sublime you get at the sea that I don't think you really find anywhere else. But then also it's this place where you go to build sand castles and do whatever. It's got this bizarre thing where on the one hand for people who grow up on the coast, and I'm sure you can relate to this growing up on an island (Invisible Oranges is U.K.-based today), there's this constant engagement with something that's so big and vast and feels kind of infinite, which sometimes can't help but feel really overwhelming and profound. So that video is coming out soon, featuring heroic camera work from her, we gave her a nightmare shoot, and that’s even before you consider the moisture.ĭMO: There's something really compelling to me about the ocean at night. She was doing this in the dark on the beach: switching out film rolls trying desperately not to get everything fucked up by the sand and stuff. And to make that work, we needed two lighting systems, and we basically had to cover her with a blanket while she changed out her film roll so that they wouldn't get sand in them. But there's a lot of logistics that go into bringing film cameras to the beach at night, to try to capture subjects, and for the video we're about to release, which is also on the beach and is also done at night, we had a friend bring a 16 millimetre camera. We're not using them, but there are some great photos of the waves crashing behind Dan while he's standing on these rocks at night. LBL: For the initial photo shoot that the cover photo came out of, and the photo of Dan that we used for the first single, we also had Richard's brother who’s a lifeguard with us, because we were going into the water and Dan was climbing up on rocks at night. And Dan's reaction was, I think, telling in that way (laughter.) We had wetsuits on, but it was still cold, but I mean, cold is true kvlt, right? (laughing) That was definitely a joke. RC: It's a great place to shoot it's shot at Venice Beach, so it's close for us-We just drive across town and it's there, it's a really deep and long beach, so it's kind of perfect for photoshoots, and yeah, we'd go there at night and that shoot, it was in November so it was definitely chilly. So it naturally became a theme for us, for this album at least. KH: Our initial visual concept was of the beach at night, and we took a lot of pictures, and then at some point we ditched the robes, but we still liked the imagery from the shoot, and one of the songs is called “The Glory Of The Ocean,” which fits. We have wetsuits underneath the robes that we were wearing. It looks like it was at night, and it looks like it was super cold! What was going on? Knew it! While we're on the visual side of things, I wanted to ask about the practicalities of the photo shoot you did for your upcoming, self-titled album: There's this great body of water, and members of the band are swimming in it, and on the merch, you're all in there. It's… We're going to be releasing a music video along with our second single. I feel like we're building this up too much. You're gonna find out in a couple of days. All of our interviews start by asking in some way why we're called Agriculture, and I think we're okay at answering it now-but the big hole question I think is more profound. Go into why you're not going to tell us deepen the mystery further.ĭMO: First of all, wow, what a great question. Um, I don't think we're going to tell you (laughs). RC: You're so close to finding out actually. I'd like to begin with a world exclusive request, because the people need to know: Why was Agriculture digging a big hole?
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