Premiere: Watch Kilbey Kennedy's New Music Video 'That's Gotta Hurt'

Kilbey Kennedy's new album is titled 'Premonition K'.
Our eclectic team of writers from around Australia – and a couple beyond – with decades of combined experience and interest in all fields.

The partnership of The Church's Steve Kilbey and All India Radio's Martin Kennedy, 'Premonition K' is their third album as Kilbey Kennedy.

A 12-track record that continues the pair's musical synergy, 'Premonition K' follows their previous albums: 'Jupiter 13' (2021) and 'The Strange Life Of Persephone Nimbus' (2022).

The record delves into the dark and enigmatic realms that exist between the boundaries of life and death, as they invite you to break out the ouija board, turn off the lights, and immerse yourself in the mysteries of 'Premonition K'.

The album's lead single 'That's Gotta Hurt' was released last month, its eerily brooding psych post-punk infused with an indietronica soundscape of sonic complexity that has the hallmarks of early Pink Floyd.

"The way me and Steve work together, I never know what the theme of the song will be until it's finished. For us, the music comes first then Steve writes the lyrics on the spot in the studio," Martin Kennedy says.

"In my head I imagined the cheery tune of 'That's Gotta Hurt' could be about old friends or tulips or something boring, so it's always fun when Steve turns it into something about being impaled on the sky and dying a 1,000 deaths!"

Ahead of the album's release tomorrow (5 April), today scenestr is stoked to premiere the 'That's Gotta Hurt' music video. Enjoy.

"The video represents a turn of the last century group of theatrical, tea-drinking types who are fooling around with the supernatural and getting unexpected results," Steve Kilbey says.

The video was shot by Clint at Red Tape. "The video aims to mimic the silent era, films produced somewhere between the late 1880s and early 1930s. Silent acting is an art unto itself," actor Geoffrey Vagg, who stars in the clip, says.

"Of course, there is no dialogue. My eyes were my focal point and I tried to minimise my body movements and limit 'over the top' expressions for effect.

"The interaction with the other actors was most rewarding and feeding off their expressions made my job a whole lot easier because of their natural presence in the various scenes of the clip."

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