The British duo Lost Under Heaven is making its fans part of its next video — although what actual song the video will be for is up in the air right now.
The group has partnered with the blockchain firm Vevue to solicit live footage from fans during its upcoming tour dates. The material will be used in a video, and perhaps more than one, from the group’s upcoming album Love Hates What You Become, and contributors will be compensated for any footage that’s used in the videos.
“It’s developing as it moves,” the group’s Ellery James Roberts tells Billboard. “Initially it was going to be one song — now we’re looking at it almost as live documents of a couple of songs, a collection. It’ll be informed by what we receive and collect. We’re in the early stages right now so hopefully by the time we’re out there touring we’ll have a great collection of footage. We want to nurture a community that exists around what we’re doing.”
Lost Under Heaven’s tour begins Jan. 18, the same day Love Hates What You Become comes out. The group — which has released a virtual reality video for the single “Come” — will be in Europe through February and is coming over to the U.S. for the South By Southwest festival during March. Roberts’ partner Ebony Hoorn, meanwhile, says that Lost Under Heaven has already started receiving videos from fans from performances in Los Angeles, New York and Seattle. “It’s kind of tricky because it’s such a new technology,” she notes. “It’s hard for people to quickly adapt and also understand the idea behind it. But people are definitely engaged, and that’s nice to see.”
Lost Under Heaven recorded Love Hates What You Become with producer John Congleton (St. Vincent, Swans, Sigur Ros) in Los Angeles. It’s aggressive and, like its predecessor, 2016’s Spiritual Songs For Lovers To Sing, politically charged, with contributions by former Swans member Thor Harris. This time out, Roberts says he and Hoorn replaced some of the first album’s technology with a more organic approach. “I wrote all the songs just on piano and guitar in quite a fast period of time,” he says, “so the sense was to cut it quickly and make something kind of raw and sort of reflective of that energy. We still used technology and sound design elements, but I do feel like there’s a different resonance and space on this album.” Hoorn’s vocals also stand out as more prominent on Love Hates What You Become than on its predecessor.
“I feel like the first album was kind of Ellery repositioning from his previous music project and I was still half graduating arts academy in Amsterdam, so I wasn’t fully 100 percent there to be part of it,” Hoorn acknowledges. “I think this time I was there for the whole process and really engaged. And by doing live shows I have grown more to understand my own vocals. That just opened up a lot of new doors and I was able to be more a part of this.”