youtu.be/QnFSjrdddo4 - Watch music video.


I was only 13 years old back when I wrote Vanishing. Originally I had it recorded it in a single spontaneous take with the help of a flimsy PC microphone, and without even knowing what a metronome is...
Poor as it was and with a little reverb effect added to it, my recording served as the ending credits theme for the Immortality Institute's first feature documentary. At the time, the song was known by the childish name "Unavoidable Expectable Turnover".

On July 2012 I entered the studio of my old friend Omri Lahav, who offered to help me turn this sketch into something good. From the very start I knew I wanted to make a real heavy and emotionally storming piece of art out of this unripe acapella. Soon after work on the song has begun, I decided to take another major step forward and meet on a regular basis, with the production of my first full-length album as a clear goal.

And so, ever since I've been making my weekly hour-long ride by train to get to Omri's studio in Binyamina. People often ask me how come I did not choose one of the many local studios in Tel-Aviv; well, my short answer would be - because it's damn worth it.
Omri & I have quite the unusual work chemistry between us. Working with him is simply too much fun, our sessions are always brimming with productivity and creativity. He plays a wide array of instruments masterfully (as my music demands), and since we share a great deal of musical taste our collaboration seems very natural.
Being the master of orchestral composition that he is makes it so much easier to implement the creative vision for my songs. On top of that, he's a good friend and the lead guitar player in my future band ;)
And let us not forget to mention his amazing patience for my wacky perfectionistic-audiophillic whims...

Not long after things started to get serious, my beloved Daniel Stein and I decided that an official video clip for Vanishing is in order.
We got us a nice Canon 7D DSLR camera with a couple of solid photography lenses and some accessories and immediately got to work.
We traveled all the way to the green lands of the Black Forest (Germany), the deserts of the Southern Arava (Israel) and the snowy tops of Tirol's Alps (Austria) to make our vision come to life.

We are responsible for each and every aspect of this video, starting from the direction, to the production, the filming, the styling, the editing and the post processing with no real budget whatsoever except for what we could spend from our own pockets at the time.

We started from a scratch.
Daniel had spent hours, days, weeks and more learning everything he could about the various aspects of video shooting and editing, just for this project. This being our first music video ever made, we have learnt SO much from it- especially from the many mistakes we've made along the way. And I can definitely say that if you liked this one, you would absolutely LOVE the next videos to come!
Our next video will be shot in RAW (with a 5D-MKIII running ML) and hopefully enjoy a much bigger budget.

This is not all there is to it though!
I had a lot of assistance in the making of this song itself-

I had my vocal coach Bilgo (Yuval Bilgorai) help me out of a "singing blockage", after many recording sessions in which I just couldn't get it right - it always seemed to lack the real power that the song needed, and Bilgo's guidance supplied me with that much-lacking boost to spirit.

I also had Jeff Willet to play the drums throughout my entire album and energize it like only a few could! His crazy yet amazingly precise drumming was without a doubt a necessity for the unique imposing sound I wanted in my album.

Mor Engel caressed Vanishing with her delicate and spine-tingling cello playing. Without her, it would have probably been sampled instead, not sounding nearly as good!

I had the song mixed at The Mix Room by Paul Pavao and Ben Grosse. It was truly a wise decision, these guys gave were able to find just the sound I was looking for: the full, harmonious and heavy sound which without their help I just couldn't get no matter how hard I tried.

With that high-end mix, I couldn't compromise on the mastering. Maor Appelbaum had given it the final touch ups to prefect the song.

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