Oh, Sleeper, ‘The Finisher’ — Video Premiere
Christian metalcore act Oh, Sleeper have just released the video for ‘The Finisher,’ the sequel to the title track, ‘Son of the Morning,’ both directed by Daniel Davidson. Additionally, it continues the metaphor-laden theme that permeates the Texas band’s lyrics. “In the ‘Son of the Morning’ video, there’s a figure who represents Satan. It’s this winged goat with horns, and the metaphor starts there,” explains frontman Micah Kinard.
“Satan has built this device, which is Venus, which comes from the metaphor from Latin poetry that ‘Son of the Morning’ is derived from. Venus is referred to as Lucifer in the morning, because it’s the brightest star in the sky until the sun breaks the horizon and completely washes it out. So his minions build Venus, and it activates and everything dies except for him. That’s where ‘The Finisher’ picks up.”
Kinard, guitarists Shane Blay and James Erwin, bassist Lucas Starr and drummer Matt Davis Davidson perform in the video, but they’re about the only thing that’s real in it. Like the first video, Davidson — the former drummer/filmmaker for post-hardcore band Norma Jean — creates a computer-generated world filled with mythical creatures representing everything that Satan has tricked into working for him, says Kinard.
“The second the video begins, this huge structure lifts out of the ground, and that’s supposed to be God deciding, ‘I’ve been silent to him long enough; I’m going to answer him now.’ And bam, it comes up right then. He’s calling out Satan at the same time, broadcasting to everyone in the world.
“In the video, there is one last attack where he raises the dead of all these creatures and makes this undead army, which is another metaphor that is used later on in the album in a couple of other songs. Then, sound waves coming out of the structure knock all of them down, and all that’s left is a showdown between God and Satan.”
In ‘Son of the Morning,’ Kinard is playing the voice of Satan — except when guitarist Blay responds with his singing, which was supposed to be God’s reply. “In ‘The Finisher,’ we’re fully representing God’s reply to that,” Kinard says.