Today I’m thrilled to bring everyone an early look at the latest single and video from the electronic pop and post-punk project known as EVRO, called “Ninth Gate.” The single comes from EVRO’s debut self-produced LP, EVRO1, and the artist shared this about the new video:
It’s a triumphant yet melancholic exploration of ego dissolution, where transcendence meets introspection. Directed by Nic Seago, the video depicts a liminal time loop at the threshold of transformation, merging internet-age with an indie aesthetic to mirror the song’s cyclical and transcendent nature. I feel like this track is me having positive energy without being corny, I read the entire Red Book by Carl Jung and I was doing a lot of shadow work when I wrote it, I sort of realized that who I though I was, was a collection of memories told by a specific perspective that wasn’t accurate to reality, and a lot of the things that I felt weren’t even truth in actuality, it was all made up. That was very liberating so that’s why I sing, Things that I used to feel, none of it was true.
If you’re enjoying the new music video, please consider streaming EVRO1 here.
The video plays with the idea of a “liminal time loop.” What drew you to that visual concept, and how does it reflect the emotional arc of “Ninth Gate”?
In the video, I’m standing in this strange intersection inside a subway a crossroads where timelines brush past each other. It feels like a quiet portal. You never know whose world you’re about to collide with. For him, the setting mirrors the emotional DNA of Ninth Gate. The song is really about accepting the chaos of being alive. Life never stops shifting, and the only thing we can do is surrender to the parts we can’t control. That liminal, looping space felt like the perfect way to show that suspended between directions, yet always moving forward.
You’ve described the track as a moment of ego dissolution inspired by Jung’s Red Book. How did those ideas shape your collaboration with director Nic Seago?
Our identity is basically a memory collage — and memory is never fully accurate. Who we think we are is a story we’ve constructed, and we’re allowed to step out of it. When I read Jung’s Red Book his descent into his subconscious to find his ‘soul’, it clicked with everything I’d been feeling. It echoed The Secret of the Golden Flower, which I love. I’d been going through a hard period, and I realized most of my suffering was just my ego feeling undervalued. In reality, everything was fine. That realization that “things I used to feel weren’t even true” shaped the whole visual world. Life is a dream we’ll barely remember. Nic Seago just understands me on that level. He can take the inner landscape and make it tangible. He’s one of the few people I’ll send demos to because he always sees the emotional architecture behind them.
The video blends internet-age aesthetics with an indie, almost analog sensibility. What references informed that hybrid style?
We wanted a DIY sci-fi energy, like the ‘future’ imagined by the internet, but built with whatever’s around you. LA’s subway stations, with their uncanny emptiness and mismatched architecture, became the perfect backdrop. Every station feels like a different set. They’re weird, they’re dramatic, they’re kind of abandoned, so they feel naturally cinematic. Wardrobe added another layer of self-mythology. I’m wearing pieces by Brian Rowan, who comes from that OG MySpace emo/Vans Warped era. Combining that with the “everyday future” aesthetic created this hybrid language that feels very true to the song, a collision of nostalgia, digital culture, and something slightly otherworldly.