NPR logo The Loom, 'For The Hooves That Gallop, And The Heels That March'

The Loom, 'For The Hooves That Gallop, And The Heels That March'

The Brooklyn band The Loom plans to put out its full-length debut on Nov. 1, and is teasing the release with a gorgeous new video. The short film from director Ben Stamper unfolds eerily in the woods of upstate New York, as The Loom bassist Dan DeSloover trudges along with a ragged bundle of strange objects. He fends off two creepy attackers wearing bird masks before rendezvousing with the other band members in the rusted hull of an abandoned greenhouse. The song is "For the Hooves That Gallop, and the Heels That March," from the album Teeth.

We asked the band and director to tell us a little bit about how the song and video came together.

The Loom singer John Fanning:

We chose "For the Hooves That Gallop, and the Heels That March" as the first song that we wanted to share from our new record Teeth, because I think it represents really well where we imagine ourselves to be as a band, both sonically and lyrically. We have a kind of dual love of things folky and quiet, as well as abrasive and dissonant (we also really love relentless and hypnotic percussion), and all of those things sort of exist in this song in various ways. Also, one of the main ideas that we try to explore on Teeth is the constant search for joy that most of us go through, despite the hardships we encounter along the way, and if "Hooves" is trying to say anything, it's really just trying to acknowledge that no matter how hard or wonderful things get (a contrast we try to represent by having both serene and abrasive moments in the song), there's really no choice but to just keep going. And that often, the things that you initially experience as hardship can later reveal themselves to be the most illuminating and rewarding.

Director Ben Stamper:

I wanted the look of the video to be dreamlike and surreal, but also timeless, which led me to incorporate lots of greens, blues and earth-tones, as well as a mixture of real-time and slow motion and a lot of the imagery of antique and dilapidated objects and structures. Conceptually, based upon my experience with and interpretation of the song, I was working with the idea that the stories and experiences we collect in life, represented here by the various objects that the wanderer gathers along his way, are both burdening and liberating, and if we are faithful to bear them to the end, they may have the power to liberate others, as well. There is no experience in this life that is wholly good or wholly bad. Always there exists that tension between the opposing forces. The fire that warms is the fire that burns, etc. Ultimately, we don't know what purpose our unique set of trials holds; all we can hope for is that there will be a time when we can cash them in for some sort of joy. In this case, the wandering man at least attempts to use his burden toward some good end.