Nic Hamilton is essentially a contemporary sci-fi director. He creates dystopian wastelands, flooded, barren and devoid of any real human qualities. I remember seeing a documentary on what would happen to the world if all human life died out and for me, Hamilton's visuals hint at that same idea but the execution is completely next level. In Hamilton's worlds human life seems to play little part, technology and machinery rule. His work fits perfectly with the electronic music it tends to accompany, worlds inspired by and that can only be soundtracked by serrated, futuristic beats.
L-Vis 1990's Ballads preview first introduced me to Hamilton's work and has been burnt into my memory since. It's one of the best EP preview videos ever, not only giving a sense of what to expect from the record but also teasing you with a world you want to explore. The pairing of audio and visuals is perfect.
Much of Hamilton's visuals are for London-based, electronic artist, Actress's music. Most recently, he released a video for Actress's Our, from Ghettoville. The hazey video fades in and out of focus across the setting of a harsh, neon building site that'd be the perfect location for a CGI AKIRA remake.
Hamilton's visuals for Actress's Voodoo Posse Chronic Illusion is like drifting off to sleep on the last train out of Tokyo and waking up in a circuit board. He describes it as 'a digitised, re-purposed and time-warped memory of the Tokyo skyline dissolves and switches over the length of the song, melding with the palette of deconstructed digital rhythms.'
This video for Row2Land by Geiom caught my attention because unlike the rest of the work selected, this piece doesn't deal with urban space, but with a much greater mass of land. The visuals document what looks like the crystallisation of earth. It's a new Ice Age meets a glacial, viral takeover.
One of Nic Hamilton's most recent pieces for Bok Bok and Kelela's Melba's Call perfectly visualises the different elements within the track itself. The 90s R&B aesthetics of close up, bed-shots in an all-white room, housed within what can only be described as a Night Slugs-esque environment couldn't be a more apt visual representation of the audio.