Uncanny Riddim, VHS/ digital video/ sound (05:02), Oslo, Norway, 2011
Jade Boyd and Nick Edwards aka Ekoplekz (sound)
‘This video work was made as a visual accompaniment for the track Uncanny Riddim by experimental analogue musician Ekoplekz. edited down from a 30 minute piece originally for his live set at The Outer Church in March 2011. The work is inspired by the Scratch Video/ Cabaret Voltaire style of the ‘80s, comprised of various sections of films (largely from a very degraded VHS version of Lucio Fulci’s The Beyond), recorded from the TV screen, using video feedback, cross modulation of VHS signals, and real-time controls > || >> <<.
The work was included in a compilation featuring works by Daniel Lopatin (Oneohtrix Point Never) and Modern Witch for CTM (Club Transmediale)’s ). Emissions from the Anarchives in the Ghosts Off the Shelf exhibition at Kunstraum Kreuzberg, Berlin (2012).
The video has also been shown with another of Ekoplekz’ compositions, Reflectograph in the form of two different installations, in Krakow at Unsound Festival’s Future Shock edition (2011), and in New York at the Wassaic Project’s Summer Show (2011). Both installations gestured towards the Occult and the mystical. In Mystic Vertex, Krakow, the ‘paranormal shrieks’1 the triangular formation of pulverized marble and the formation of the TV stacks suggestive of a mystical triangle created a feeling of something ritual or occultist.
One observer made a correlation with Genesis P-Orridge’s Psychic TV. While hinting strongly at occult and mystic practices, the use of domestic TV sets and prefabricated garden stones gestures towards outsider art. In New York, Mystic Vertex plays on the fetishes and trappings of New Age and Mysticism. The motif of the triangle, peaks and vertices play throughout the entire installation, echoed within the forms of the old mill in which the Reflectograph video it is nestled and the exhibition is set.’
Joseph Stannard of The Wire (2011)
“While video artists utilize high definition for a crisp and clean look, those who work with analog technology often basque in exactly the opposite. Although people often highlight the “warmth” of analog video, what often makes it notable to me is the sense of the sublime– the possibility of some unexpected energy or presence infiltrating your footage. Jade Boyd’s video for Ekoplekz’s “Uncanny Riddim” explores the darker dimensions of this. Through video feedback, we are introduced to several shadowy presences. One is a female figure, who is shot from a high side angle; another is a man whose features are blurred, and the other is a more ambiguous face that we see in extreme close-up. Although there isn’t much action, there is an overriding sense of something sinister about to occur. Ekoplekz’s repetitive, noise laden dark techno drives this haunting semi-narrative. His trembling synth tones go off like paranormal cries”