Jekka has released a new video “What's the final destination?” Dedicated to digital culture and virtual reality space. The main themes of the clip: refraction of reality, splitting of information and meaning, the limit of human capabilities and consciousness. Jekka's voice, altered beyond recognition, asks: “What's the final destination? What's your liberation?"
The plot of the video is based on the transformation of the musician's image: from pure studio portrait photography to digital graphics and, finally, the disintegration of the picture into pixels and glitch. At the end, the changes reach the limit - the transformation program fails, the file is broken, and only a dark silhouette remains in the frame. The creators of the video - Jekka herself, Panika Derevya, Alyona Yermishina, Larisa Molokanova and graffiti artist Misha Most - put into it a "painfully familiar feeling that the world will never be the same."
Track "What's the final destination?" is part of a joint release with Hyperboloid label musician Gleb Raumskaya, which is expected to be released this fall.
Song "What's the final destination?" - a kind of dystopia, something like the movie "The Matrix" about the increasing penetration of digital culture into our lives and the creation of new layers of identity. The changed voice seems to say that I am not me, but we are all some kind of “digital fugitives”, creating new realities and worlds, turning the prevailing stereotypes, visions, expectations inside out. Around the same time when I wrote the track and at the same time I met many cool girls who make music themselves and change the musical culture around them, the idea came to me to create a blog and use that same digital space to inspire other girls to make music. telling and showing different heroines. I'll be launching it very soon.
Panika Derevya, visual director
I feel how rapidly everything is changing now in the world, how much digital culture, gadgets and media contribute to this. It seems to me that we ourselves and our project mutated in the process. We drew attention to digital tools and applied it in combination with material effects - we repainted and painted Zheka's graphitty, turned it into a virtual sculpture, built the plot on the transformation of the image and graphics itself. They allowed themselves to do what they did not expect of themselves, did not resist the natural movement of common thought and underwent transformation themselves. Working with male directors, I often face restrictions in my creativity, but in our company of five girls and one eminent graffiti artist, each made a significant contribution to the general chaos.