Frederick Lloyd directs a haunting slow-burning video for a track from the new album by Ursine Vulpine, his own music project.

Starting with a close-up on actress Caitlin Reeve in a nearly dark room, the video for Resurrection (a cover of a 90’s trance hit by PPK) as the camera draws back out of the room. And when the space is flooded with bolts of red light, it briefly illuminates what is otherwise unseen: a mass of dancing bodies.

"I hadn’t originally intended to do any sort of video for the album, but upon re-listening to it a couple of months before it’s September release I got hit with the idea and wouldn’t have forgiven myself had I not put a visual companion together for it," says Lloyd.

"I knew after doing two high concept, VFX-heavy videos for my previous releases that I wanted to do something a bit simpler this time around. But it was important that it still felt really cinematic, emotional and had a reveal moment that coincided with the swell of strings in the third act of the music. I leaned heavily on the lighting to help deliver this moment with the red strobe punching through the blue colour palette whilst simultaneously revealing the room full of dancers.

"Although the song feels quite heartwrenching and heavy emotionally, I did want to have the video be a little bit more ambiguous. I’d recently finished binge watching the HBO show Euphoria, so took a lot of inspiration from their stylised and dream-like depiction of being high."

Shooting on anamorphic lenses to get a cinematic widescreen feel and to reveal as much of the dancers as possible, Lloyd reveals they went through different ideas for the camera movement on the shoot day, which took place on a very hot August day in London. 

"I initially intended to rotate the camera 360 degrees in a corkscrew movement during the third act to further enhance that moment and add some more trippy, psychedelic vibes to it. After running it on the day it actually hindered the reveal of the dancers as they would all be out of frame during a lot of the rotation. So, we opted to just go for the simpler movement and it worked much better. Sometimes simplicity is king!

"A massive thank you to the crew and 18 dancers that battled through the day with me despite the insane heat. And a huge, huge thank you to Blindeye Films for helping bring this into reality in a short space of time and my DoP Thomas Tyson-Hole for helping realise this with me. I shot my first music videos with Tom back in our university days a decade and a half ago and i'm pretty sure I wouldn't have gained the confidence to make music videos had I not collaborated with him so this felt like a really, special reunion."