Having directed his first Belleruche video, for Clockwatching, in Dungeness and London - Jamie Roberts has made his second in the corner shops in East London, in a manner of speaking. That was where he photocopied every frame of his edit for Fuzz Face - all 4500 of them.

Having directed his first Belleruche video, for <a href="http://www.promonews.tv/2010/06/28/belleruche%E2%80%99s-clockwatching-by-jamie-roberts/" target="_blank">Clockwatching</a>, in Dungeness and London - Jamie Roberts has made his second in the corner shops in East London, in a manner of speaking. That was where he photocopied every frame of his edit for Fuzz Face - all 4500 of them. In short, the video takes the concept of 'Fuzz Face' and spins the band members through a weird process of digital and analogue distortion - rather like Radiohead's laser-mapping vid for House Of Cards. After that every frame was 'fuzzed' by being run through old photocopiers in call centres and newsagents on the Bethnal Green Road. Then the prints being reassembled into the final edit.

In short, the video takes the concept of 'Fuzz Face' and spins the band members through a weird process of digital and analogue distortion - rather like Radiohead's laser-mapping vid for House Of Cards. After that every frame was 'fuzzed' by being run through old photocopiers in call centres and newsagents on the Bethnal Green Road. Then the prints being reassembled into the final edit.

Having directed his first Belleruche video, for <a href="http://www.promonews.tv/2010/06/28/belleruche%E2%80%99s-clockwatching-by-jamie-roberts/" target="_blank">Clockwatching</a>, in Dungeness and London - Jamie Roberts has made his second in the corner shops in East London, in a manner of speaking. That was where he photocopied every frame of his edit for Fuzz Face - all 4500 of them. In short, the video takes the concept of 'Fuzz Face' and spins the band members through a weird process of digital and analogue distortion - rather like Radiohead's laser-mapping vid for House Of Cards. After that every frame was 'fuzzed' by being run through old photocopiers in call centres and newsagents on the Bethnal Green Road. Then the prints being reassembled into the final edit.