“…well, better than the alternative.” is the latest single from Will Wood’s upcoming album, The Normal Album, due out on July 10 via Say-10 Records. The track is nothing short of a glistening avant-pop gem, juxtaposing an upbeat, charming melody with heavy lyrical matter.

 The song builds and builds to a sweeping climax at the three-minute mark where Wood’s vocal performance takes on an anguished energy as he sings, “Baby, could you play along with me? Baby, would that be alright with you? And when we find out what’s wrong with me could you tell me how I’m right for you?”
Speaking to the song’s inspiration, Will states, “Contrary to popular belief, I don’t have a daughter—I don’t always write from my own perspective. Besides, I think the last thing I want is to put someone through the deeply traumatizing experience of being forced to live an entire life without their consent. It almost always messes them up mentally.”
The corresponding video was created using EBSynth—a cutting-edge digital animation tool that makes paintings come to life. Created by tech start-up Secret Weapons, the program applies handmade paintings onto live footage, thereby turning that footage into a “motion painting” with fascinating results.
Of the process, Will shares, “Sorin Michaels, a top member of my Patreon, began posting fascinating animated edits of an early music video of mine in the Patreon discord server, and I was immediately hooked. The visuals were just stunning, so I asked for his help in creating a music video using his unique set of skills with this brand new technology.
“Co-creator of my concert film, The Real Will Wood, Chris Dunne and I began brainstorming and shooting videos in our still-unfurnished house and sending them over to Sorin, who began the process of painting ‘keyframes.’ Each clip would use just one keyframe to show off the unique functionality of the program and to create a wide variety of styles within the video.
“Between shoots, Sorin would send over screenshots of the video for me to trace and create painted versions of, so we could both create individual keyframes and create further variety in the styles present in the video.

“All of the keyframes were hand-painted, and I then bridged the gap between the ‘motion paintings’ and the live action footage that helped show an abstract narrative in the video using stop-motion and water color cell animation. Once Sorin had finished the process of rendering these motion paintings, he sent them to me, and I took on the role of editor. The work was meticulous, but it paid off in full by creating a music video unlike any other using brand-new technology in a wholly unique way.”


Addison is reviews and online news editor for New Noise. She specializes in metal, queer issues, and dog cuddles.

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