Revel in the Miami Vice vibes of Sinkane’s ‘Telephone’
Brooklyn based synth-funk god SINKANE has fully represented the bedroom groove in the video release for their newest release ‘Telephone’.
If you’ve ever been caught up in ferocious dance moves whilst getting ready to go out, or even just while parading around the house with headphones blaring, you’ll understand the sentiment Sinkane is trying to express in this video.
It begins with classically trained ballerina KELLY NAKAMURA’s face placed upside down, spiralling out into a bedroom scene illuminated by what could not be more of a quintessential 80’s Miami vice feel. Nakamura seems ready to take on the world.
Directors BRÁULIO AMADO and BRUNO FERREIRA transform this video into a series of trippy inception moments, with Sinkane performing a video inside a video before you’re transported back to the red neon lit bedroom in which it all began. It becomes less of a groove filled wonderland and more of an empty setting flourished by absence.
The genius direction from Amado and Ferreira allow you further and further into the life of the lady Nakamura is portraying. But the genius lays in the fact that what she is doing doesn’t change dramatically at all. The scene builds and continues to repeat alongside the track, both managing crescendo in unison.
There’s so much of the story left untold, but the cornerstone of the video is the groove Nakamura loses herself in. As much as there is to say about this piece of cinematographic art, the real talking point is what happens to you when you watch it. The song alone holds more than enough groove for you to bite into, but with the structure of the song painted into a video you have no need to think about anything, only feel.
We are witnessing true video wizardry to match what may be one of the most contagious boogie tunes of 2017 so far. The meaning of which is left up to you to decide. If you enjoy a bit of visual stimuli to wash down your tunes then let Sinkane’s newest show you the way.
Image: Spindle Magazine
Words by STEVE COPP