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MUSIC VIDEOS www.postmagazine.com 16 POST SEPT/OCT 2025 TEEN JESUS AND THE JEAN TEASERS - MOTHER Teen Jesus and the Jean Teasers will release their second album – "Glory" - on November 7th via Mom + Pop Music. The all-female band recently dropped a music video for the track "Mother," a fiery, rage-filled single that features gui- tarist Scarlett McKahey on lead vocals for the first time. "'Mother' is for every beautiful, magical lady who's been caught in the cross- fire of a man pretending to be good," explains the band. "It's about the built-up rage of watching incredible women being mistreated by inadequate men, over and over again, since the beginning of time." The video was produced by Corporate Giant under the direction of Melbourne, Australia-based Tas Wilson (www.taswilson.com), who says the band expressed early on the desire for a visual that was dark, staunch and raw. "The song itself already leans into that space effortlessly, so it was a wel- come shift creatively to dive into the grit and build something to match that weight," says Wilson. "On a Zoom with the band, we managed to find the through line between Picnic at Hanging Rock and Fight Club — two wildly dif- ferent reference points, but both anchored in a sense of mystery, tension and unravelling of identity." Nyssa Mitchell served as director of photography on the project, which was shot in just a single day following weeks of pre-production. The produc- tion took place around Melbourne city, and Mitchell captured footage using a Canon C300 MkIII with a Cooke Mini S4is lens. "Finding the right locations was crucial," Wilson adds. "We needed spaces that could carry the atmosphere of the track without feeling forced or overly stylized. Every aspect of production design had to be intentional, from the color palette to the texture of the walls. The relief when our producer Greta (Pitney) called to say we'd locked the church location — it was one of those moments where everything started to fall into place." The one-day shoot was very ambitious considering the amount of set dress- ing, hair & makeup, and overall coordination involved, notes Wilson. "The band were incredible from the first frame, and I'm pretty sure most takes were first takes. Scarlett especially was a powerhouse, screaming her heart out with everything she had, almost losing her voice. I just have to give it up for the crew who made the whole thing possible. Everyone went above and beyond to make it happen, and hustled so hard. What you see in the video is a direct reflection of their hard work and talent." Wilson performed the edit using Adobe Premiere, and Ted Deacey applied the color graded using Blackmagic Design's DaVinci Resolve. "I then did the online edit in After Effects," shares Wilson. "It was a really quick turnaround for this one. All the post, up to delivery, was completed in four days. Based in Australia, Teen Jesus and the Jean Teasers includes Anna Ryan (vocals/guitar), Jaida Stephenson (bass) and Neve van Boxsel (drums), as well as guitarist Scarlett McKahey. — By Marc Loftus EMMA LOUISE AND FLUME - MONSOON Multi-hyphenate artist Emma Louise and Grammy-winning producer/songwrit- er Flume partnered to create a new 10-track album titled "Dumb" (https://ffm. to/dumb-pre). Monsoon is the latest video from the Australian duo, who are based in New South Wales, and was directed by Jonathan Zawada and Michael Hili. The release follows "Easy Goodbye" and "Shine, Glow, Glisten." The album was created under the mantra to "make it dumb," meaning not to limit possibilities by overthinking. In the Monsoon video, Emma Louise is shown laying in a shallow pond of water, her face slightly submerged while she performs the lyrics, which often ask: "Do you think about me?" As the camera slowly zooms out, the framing reveals that the shoot is taking place inside a studio, and not out in nature. Later, the giant hand of a monster slowly enters through an opening in the roof. While initially appearing as a threat, it instead slowly retracts, as if affected by Emma's emotional performance. According to Michael Hili, who served as co-director, with a focus on the live-action component, Emma's delivery comes off almost like a confessional, juxtaposed to the aggression and scale of the music. "Visually, our choices mirror some of that tension," says Hili. "We shot on traditional 35mm celluloid, embracing in-camera effects and a grounded dolly move. Imperfections — ramps and film burns — are inherent to the image rath- er than corrected. Jonathan (Zawada) and I are never interested in smoothing over the friction between live action and 3D, but instead lean into their collision. The choices in the beautiful grade by Matic Prusnik embody this, preserving the texture and contrast between the elements." Co-director Zawada adds that going into the shoot, the team had a clear vision of the project appearing very much like a single shot, and had roughed out the concept using Blender. "Once the developed film came back though, it felt like there was some- thing missing, and that's when I started exploring integrating some additional elements — the shadow puppets and the giant hand," Zawada reveals. "This was all done in the space of a week and completed in Blender with an outside compositor doing the comps. I really enjoy responding to what is in front of me and adapting or finding opportunities to do something." He points to the big, soft fill light over Emma's head, and the illuminated scrim behind her as two such elements. "I'm 100 percent certain that had we gone into the shoot with those ele- ments in mind, we wouldn't have ended up with the kind of delicate balance that exists in the final piece," Zawada concludes. — By Marc Loftus