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Aug 02, 2017 By Christopher Roberts Trailer Trash Tracys

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London-based duo Trailer Trash Tracys (Susanne Aztoria and James Lee) are releasing their sophomore album, Althaea, on August 11 via Double Six (an imprint of Domino). Previously they shared a video for its first single, “Eden Machine.” Now they have shared another song from the album, “Siebenkas,” via its video, which was shot in and around Manila and features locals seemingly worshiping a glowing orb. Watch it below.

Lee directed the video himself and had this to say about it in a press release: “The narration for the video was supposed to be a rivalry between people who represent the moon, and people representing the ‘tiger,’ which features prominently in Philippine folklore. The video, however, has parallel meanings. Not to give too much away, we kept the narrative loose. The moon in the video could metaphorically represent knowledge (represented by the illumination) or something more spiritual. In fact, I liked the idea of the moon falling to earth, and people passing it around like a toy.

“I was initially influenced by a scene in Woody Allen’s Sleeper film in which a group of hedonists enjoy a futuristic drug shaped like a ball. I wanted to echo some of the political issues surrounding the death penalty for drug users in the Philippines as well.

“The video was shot in various locations around Manila - a lake, a cave, rural roadsides and remote areas - and features various artists I befriended - the Hernandez Brothers, Nika Dizon, Keren Oo, Juluis Valledor, Cenon III and Mavs.”

Althaea arrives five years after their dream pop-leaning debut, 2012’s Ester. A previous press release described the album as such: “With Althaea, the band continue their investigations into the farther flung reaches of pop music. Spanning 10 deeply esoteric tracks, Althaea sees the band drift further afield from traditional song structures to create a new aural lexicon of their own, one as influenced by Filipino carnival music and Latin rhythms as it was by Japanese tropical music from the ‘80s. Even at their most outwardly pop - the pristine ‘Eden Machine’ for instance, or the swooning ‘Kalesa,’ there is a baroque splendor, and heightened sensuality. The interplay of light and dark, the foreign and the familiar, brings forth an album with manifold pleasures, one which rewards repeated listening and further exploration.”

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