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Ferret Music<\/strong> are continuing their return with new videos from Bore<\/strong> and Wounded Touch<\/strong>.<\/p>\n Bore have shared a black-and-white performance video for “Feed,” framed through a television screen motif. The track centers on alienation, control, and the psychological weight of living inside systems built around compliance.<\/p>\n Wounded Touch have also released a video for “A Weapon In God’s Country,” which features Jack Murray<\/strong> of 156\/Silence<\/strong>. The clip channels themes of resistance, collapse, and survival against dehumanizing systems.<\/p>\n Bore guitarist Danny Kopji <\/strong>shared the following:<\/p>\n “Feed” is a song about how algorithms seem to reprogram people in the modern age. From how art becomes content, to how a human being becomes a brand, to how someone who never left a 5 mile radius from where they were born suddenly becomes an expert on foreign policy and so on and so forth.<\/p>\n We wanted to capture that feeling of discontent and paranoia, and our friend Sean Ageman (Washed Up Media) immediately got what we were going for. We emptied our practice space, took out the carpet and shot the whole thing in about 5 hours, then Sean came back with the insane video you have here.<\/p>\n<\/blockquote>\n \u00a0<\/p>\n Wounded Touch vocalist Nick Holland<\/strong> also stated:<\/p>\n Unlike other videos in the past where we’d had a lot of preproduction time, this video was something we had to put together very last minute and even up until the morning of filming, we didn’t have much of an idea of what we would be shooting. Our friend Indy directed and we shot it early in the morning in the basement of the Masonic Temple we were playing later that night. It resulted in an extremely frantic, frenetic and panic-inducing visual presentation that perfectly coincided with the sound and nature of the song itself. We knew we wanted to include footage pertaining to bomb making\/bombings and data centers, but we found that surprisingly archived violent stock footage used to be much easier to find on the internet. So instead of archival stock, the majority of the bombing footage ended up being screen recordings of live videos on social media taken in places like Gaza, Lebanon, Ukraine and Iran. Perhaps that’s a direct reflection of our time anyways: the difficulty in navigating puritanical, unnecessary censorship of media while simultaneously being permitted exposure to horrific acts of real life violence as it occurs in real time.<\/p>\n<\/blockquote>\n \u00a0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n\n
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