Kevin McGloughlin

A self taught filmaker and artist based in Sligo, Ireland, primarily working as a director and animator. His initiative is to create immersive and thought provoking experiences using unconventional methods of film and animation.

Role: director



Max Cooper + Samad Khan - Movement Maps




Max Cooper ft Samad Khan - Weakness of the Flesh

From the Jacob Jonas Dance Company - Weakness of the Flesh Concrete, when dry, cemented and stuck. The body, delicate. When the mind is pushed, the potential of the defense system is revealed. Blank canvases and raw environments. The complexities of human nature exposed. Depth of understanding to the natural course. Societies normality can’t enslave us. The mind pushes to the body. The mind pushes towards the weak flesh. A rebound effect that continues. This is a universal temptation that repeats through time. Max Cooper: "This project from the Jacob Jonas dance company arrived via my long term collaborator and friend Kevin McGloughlin, already in a quite complete state, already full of mystery and humanity and an unusual intensity as carried by the project summary as well. My task was to score to the dance and visual interpretation, to add another mapping to the line of conception to choreography to dance to film to music. I ended up with a few different pieces from various attempts and reinterpretations, forming the maps EP which the first part of is released today with the film. My process for this main film track was to rely more heavily than usual on techniques where I could improvise in a dance-like manner. I tried to make the synths and the chimes follow the movements and feelings of the dance and be defined by it in arrangement. With detailings and textures following cues of the environment and visual treatment. I used a lot of binaural recordings of me scraping rough surfaces and other textural sounds linked to the sharp edits and points of human contact with the concrete. It was a part foley, part composition approach. It was a nice new way to write a piece of music for me, with some different musical results. The music was brought to life by the classical Indian vocalist and musician Samad Khan, whose powerful voice added another mapping to the sequence. And as with all the others, felt a very natural fit. Featuring Emma Rosenzweig-Bock





Fluid Art By - Roman Hill, Thomas Blanchard & Oilhack Drone Photography By - Colm Hogan McGLOUGHLIN BROTHERS: Development and destruction seem to go hand in hand when it comes to human progress on earth. There is a celebration of the human ability to create sophisticated environments in which we inhabit, but also a concern at the price that we are paying for this. Feeling alien is easy here. - - - MAX COOPER: This project was something special for me. Two of my favourite artists, brothers, and long term collaborators, Kevin and Páraic McGloughlin got together to create a short film with huge visual and conceptual intensity. It is the story of our planet and us on it. Swarming. The huge scale of our impact on the planet presented as beautiful and terrifying growing structures as we see population growth time lapse set against frenetic activity. Usually I write music alongside rough visual ideas from my project stories, and rely on the video artist to synchronise them for music videos. But this beast of a short film was presented more or less finished, and I had the daunting task of how to make the music live up to the feeling and spectacle of the film. As well as sync to the barrage of visual cues. It turned into a bit of an obsession, where I was trying to find the right sounds to link with every new scene, and given the number of scenes, it turned into one of my most detailed pieces of music. If you can listen in HD format with headphones there are many details to find in there, often using spatial/binaural format to make them audible amongst the chaos. The main element that I started with was that big pitch bending synth chord sequence. It seemed to capture something of the growing intensity and power of the film, and I could also sync the pitch gliding to the longer scale visual arrangement. The whole process of building the arrangement tightly to the film yielded an unusual musical structure for me, which was a nice habit breaking process that gave me some lessons to take into future projects.




Sunken Foal - Never Knew ft. Si Schroeder

Director statement : This piece is based on the idea of time perception and the fact that our inner clock is constantly distorted by temporal and spacial illusion with emotion having a huge role ... A simple car journey of a set length can take extremely different measures of perceived time depending on the attributes of the trip the individual associates with. Funny to think how Emotion can change our lifespan.... technical details: This video is a result of countless experiments in a similar vein. All footage/photographs were shot from the inside of a car. The most prominent effect is generated from the 50mm's depth of field,the use of 'echo' effects or 'mirror' effects were were not employed with the exception of less than 25 seconds...




Stefano Lentini - Suite After the Furies





A visual representation of our connection to earth and it's vulnerable glory. Our time here is esoteric, limited and intangible. The fragility which exists in all aspects of life is one thing that is certain. We are brittle, and so is Mother Earth. Selected images: Google Earth. Audio Samples: Nasa.




Max Cooper - Repetition




Shit Robot - Lose Control

The official music video for "Lose Control" by Shit Robot featuring Nancy Whang.




Max Cooper - Veil of Time

The official music video for "Veil of Time" by Max Cooper.




Max Cooper - Resynthesis

"On high speed train journeys I love watching the wires seemingly dance around outside the window. I wondered if we could be getting fooled by a similar process during our usual experience of time."




Max Cooper - Waves

The official music video for "Waves" by Max Cooper.

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