Relationships often come with moments of happiness and moments of turmoil. This is a lesson that Julie Ann Bee learned while writing the latest Sea Of Bees record, Orangefarben. However, she also learned that those ups and downs could be the perfect spark for creativity. What came from these lessons is an album packed with feeling, from fear to joy to sadness.
Today CMJ is premiering the video for “Gone,” a dreamy-toned track from Orangefarben. The video, directed by Los Angeles skater Mike Rafter, shows Jules Bee hanging around an Amtrak station, playing on the song’s theme of leaving. We caught up with Jules to ask her a few questions about the video, which you can find below.
What’s going on in “Gone”?
The song is about somebody that you love very much, but you just kind of realize that you can’t make them happy. They’re just kind of gone, but you’re trying so hard to bring something back to life. You’re going back to that door, and you’re knocking on it, smiling, trying really hard to keep it all together. You want to make sure that they’re happy, but at the same time you’re not being happy because they’re not happy, and you’re not making them happy, so it’s particularly about that. It’s also about loss. It’s about somebody dear to you dying and leaving when you’ve been gone for so long. It’s just the simple things, like you’re trying really hard to put on a good face, but in the end you can’t take it.
Was this sparked by any particular experience?
I think this album in particular—it’s all experience. I couldn’t keep it in. It was kind of like an explosion. It just came out that way, and I think it was pure, and it was direct.
How did you come up with the video concept?
Well, from the beginning of the song I told my friend John, my manager, you know I just imagined friends and people always leaving all the time. I didn’t want to get too deep and bring in death or anything, but it was more of just the concept of when you go to a train station, somebody’s leaving. A good friend who’s like a local skater, Mike Rafter—he’s one of the top creative people I know—gave me a call. We just kind of did it guerrilla style. I told him like, “Hey, I want to do something that deals with train stations and leaving,” and he’s like, “All right!” He brought two cameras that were Nikons and just did some random shots of me doing whatever—singing and having fun—and then it became more personal because everything was shot in my hometown in Sacramento, and I’m with my good friend shooting completely freestyle, not even planned stuff.
How exactly were you able to arrange shooting in a Sacramento Amtrak station? Did you run into any problems?
We had a tiny little Canon D4 type thing with a really good lens on it, and he had a small little camera that you use for skydiving or skating. We just walked in and kept it natural and not like, flashing everything. Sitting down we’d take a shot for a few seconds. We were walking across the Amtrak station by a train that was leaving, and this guy was so grumpy, the guy that worked there. He was like, “I don’t wanna hit you guys! I’ve hit enough people on these railroads.” And we were like, “Dude, OK, sorry. We weren’t even in the middle of your railroad.”