Alex Henry Foster Teases New Film Voyage à la Mer with Moody Music Video for “A Vessel Astray”
The track appeared on Kimiyo, the Canadian post-rock composer’s collaborative LP with Japanese vocalist Momoka Tobari released earlier this year.
Words: MIKE LESUER
June 03, 2024
June 03, 2024
This is a longer version of the article originally published in FLOOD MAGAZINE
Read the original article here
When Montreal-based artist Alex Henry Foster released his album-length collaboration with vocalist Momoka Tobari earlier this year, he was only getting started. The post-rock composer has hinted at another studio album and a live performance release dropping before 2024 is up, though it appears that his next project will be promoting a new film titled Voyage à la Mer that’s slated for a fall premiere and will star both Foster and his collaborator Tobari. And he’s doing just that today with the reveal of a music video for the Kimiyo album track “A Vessel Astray” in the form of a contemplative visual pulled from the upcoming film to match the mood of the eight-minute composition.
Your work often blends introspective lyricism with captivating melodies. What is your approach to songwriting, and how do you balance these elements?
My approach is usually an ongoing motion defined by contemplative reflections, dwelling on the invisible or intangible realm if you’d like. First will come an image, which will eventually inspire a word from which a project or an album title will emerge, followed by song or chapter titles. The songs will start to form themselves as I muse about their initial spark of life. The image will evolve, and become some sort of cinematographic entity. Themes will slowly reveal their outlines, uncovering words. Once the words are assembled into lyrics, scripts, or poetry, the body of work defines itself, blooming into songs, motion pictures, and collages of colors or shapes. The biggest challenge is to get my own limitative ambitions out of the way in order to let the organic process grow beyond my need for control or fear of failure, which then allows any of my projects to keep evolving, transforming, morphing into completely new elements right after their inception. The need for balance is rarely a preoccupation, if not non-existent whatsoever. There’s no notion of “end”, “completion” or “absolute”. That’s the reason why there are no two identical concerts nor any similar songs from one rendition to another; the stream keeps going regardless of myself.
The video is an excerpt from your upcoming movie “Voyage à la Mer”. How did you decide which part of the film to use for this music video?
I’m an avid fan of collages, cut-ups, and superpositions, especially when it comes to visual art forms. Cinema is particularly rewarding in that sense. For Voyage à la Mer, I wanted to expose two entirely distinct timelines in the visual; myself, almost 15 years ago, being the central character of a story that isn’t mine anymore since it is lived from a perspective that belongs to the character played by Momoka. I liked the paradoxes of being exposed through someone else’s eyes while being the one behind the camera, capturing Momoka’s emotions while we were in Japan in October 2023, which felt like a lifetime after. Both realities exist and collide in the impermanent, yet eternal, movement of water, a merge giving birth to a third perspective, what I see as the ultimate eye view there is; everyone’s personal and intimate interpretation, creating a story of millions of exploratory translation but only one unique imaginary dream, evolving with every immersion, thus becoming a different movie altogether…
How does "Voyage à la Mer" complement the music of Kimiyo and your other upcoming releases?
Logic would have compelled or tempted most creators to start the journey with the movie in order to offer the listeners a tangible visual landscape to support the music and give the lyrical content a protagonist to relate to. I chose to do the exact opposite based on the same reasons. I wanted people to dwell in a language most don’t understand, to create their own images, to define their own stories, and to be at the very center of the emotional journey. It’s not about Alex Henry or Momoka; it’s about them. The movie will stand as an invitation to juxtapose their experience to someone else’s interpretation, to expand the view on an affective construct defined by its boundless nature, to decide whether it’s real enough to grow into the emotions or to outgrow them all, to collectivize the experiences and let them evolve in other people’s hearts. That’s why Voyage à la Mer is significant in the release sequencing.
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