Psychedelic distortion
November 13, 2015

Rainbow explosions and kaleidoscopic landscapes come to life in Yoshi Sodeoka’s multidisciplinary music videos for bands such as Tame Impala

Every piece is an explosion of colour, pattern and shape; multidisciplinary artist Yoshi Sodeoka creates neo­psychedelic compositions in video, print and gifs. His visuals both play out in synchronized repetition and explode into complete chaos. Temporal illusions create an alternate sense of time and space that challenges our perception, creating experiences that are as self-aware of their throwback kitsch elements as they are transcendental.

Much of Sodeoka’s work centres around collaborative music videos and audio­visual projects of his own. Drawing inspiration from the lyrics, vocals and experimental soundscapes that he works with, the process becomes one of translation. Inspired visuals relay everything from the distorted sound of a guitar to angelic vocals, with corresponding visuals accented by everything from glitchy errors to gently moving kaleidoscopic landscapes.


Visuals accented by everything from glitchy errors to gently moving kaleidoscopic landscapes.


In his video for Tame Impala’s ‘Elephant’, guitarists strum in the sky as they spiral inwards and onwards, evoking thoughts of 70s black light posters brought fully to life. Clips of fortune tellers calling on the forces of colour interrupt the clouds of fluorescent saturated colour in a distinct visual aesthetic that holds within it premonitions of myth, ritual and incantation. “I really love that song,” Sodeoka explains. “The turnaround for that video was really quick and spontaneous but they still gave me total freedom”.

“I honestly don’t think about technology that much when I make my art or while doing any other things.” Sodeoka explains, describing the total integration of technology into his daily life. “Art always pushes things forward and inspires many other aspects of life. It’s not necessary to separate so called “multimedia art” and “traditional art” so much anymore as technology is totally part of the process for a lot of artists. The key for me is to always avoid gimmicky tech things of ‘today’ and focus on the concept.”


It’s not necessary to separate so called “multimedia art” and “traditional art” so much anymore as technology is totally part of the process for a lot of artists.


Another video, ‘Chalkline’, made for Danish band Ice Cream Cathedral, moves through time and space, reaching a beyond within a digital realm of striking familiarity. “A lot of new good tech things are widely available more than ever. I don’t even know how I made those things back in the days with those slow computers,” Sodeoka says of the developments in tech since he first started creating in the 90’s. “But the process of coming up with new ideas for projects hasn’t changed. I think that my older works don’t look dated.”

Alongside his own video work, Sodeoka has set up Undervolt & Co, a label for experimental video artists that he co-runs with fellow digital media artists Johnny Woods and Nicholas O'Brien. The label curates exclusive content from a new generation of video artists. In response to the increasing demand for an adequate platform for the large body of audio­visual work that is being created, the label’s website and online shop offers an abstract body of work ranging in style from glitchy to the psychedelics of Sodeoka’s own work. “I think that it’s important for artists to keep experimenting with technologies, and provide different point of views to everything and everyone,” he says. “There’s always space for something new and innovative, and that will never run out.”

For more information on Yoshi Sodeoka's work, click here


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