Director and Composer Frederick Lloyd creates an awesome cinematic visual accompaniment for his debut album Respire.

Set in the dying days of humanity, the 11-minute film is sparse on dialogue - allowing the visuals and the score to carry the emotional story of a young couple, presumably the last on Earth, in their last days together. Laden with amazing visual effects and production design evoking the eerie feeling of post-human spaces like Pripyat, Ukraine and Centralia, Pennsylvania. The result is a gorgeous, minimal meditation on love, humanity, and life itself.

FREDERICK LLOYD:

"When it came time to think about releasing my debut album, as a director as well as a composer, I knew I wanted to make some kind of visual, narrative accompaniment to the album. The nature of the music that I've made over the past five or so years has always been focused on cinematic scale, sweeping emotion and film score atmosphere and tone. In short, it has always been created with film imagery in mind.

"The album title itself Respire is derived from the archaic meaning: to recover hope and courage after a period of hardship or difficulty and the album itself is really a chronological journey through my life, each new track is sort of representative of a specific point in my life and what I was going through at the time.

"I settled on two tracks to act as the soundtrack to the short and through repeated listening began to conceptualise the story in my head whilst keeping the theme of the album in mind and, after a few iterations, finally landed on the story we see now - a journey of two souls that overcome their own uncertainty and fear because they have each other and that is all that matters, set against the backdrop of the rapture and end of time. So a small scale emotional story, against a huge scale concept.

"This was probably the hardest shoot I’ve ever done. I funded it myself so budget was fairly limited, and we shot over 2 and a half days with a few scattered locations, none of which were easily accessible, with a very small crew who I owe a great deal for their hard work. The whole thing was physically and mentally exhausting, but I think it paid off in the end. It feels like something that is representative of me - I directed, wrote, edited, shared camera operating duties with my amazing DP Matt Vahey, and it feels so closely attached and in tune with what the album is about for me.

"I also have to give a huge shout out to my production designer Francis Fagan who did an amazing job as always, as well as Joseph Batten who did all the visual effects completely himself and infinitely helped achieve the cinematic scale and scope I was going for."