A first look, close enough to fog the lens.

“Glass” was the debut for both Pique and Yesh. It holds the sound and soul of the label, and it introduced Yesh at her most vulnerable and honest.

The director, Jayne Lies, wanted meeting Yesh to feel like catching her on the way to somewhere. On paper, she sketched an ordinary afternoon: a grey hallway, an old elevator counting down fifteen floors, a dance in a parking lot, then a halal diner across the street for some grub. New Yorkers walking by were welcome in the frame. She wrote Yesh as a character living “a mundane life in the future,” dressed in a kind of uniform, with blue lenses in her eyes.

The footage came to AD90 for post-production, and the treatment was specific about how it should feel. The main scenes were to stay soft and smooth. Against them, b-roll in saturated color, some of it shot through a fisheye lens: juice spilling, an egg yolk running, puddles, palms pressed flat on glass, the light in a subway tunnel. The concept was summed up as: lucid conflicts. Getting those two textures to sit together was the job. Cut too hard and the day falls apart into a highlight reel. Cut too gently and the strangeness Lies asked for disappears. Our part was to make the picture move the way the song does, changing shape as it goes, so one afternoon with an electronic artist plays like a dream you half remember.

The video premiered on Office, and it was the first look anyone got at her. Early in the treatment, Lies wrote a shot of Yesh leaning into the camera and breathing on the lens until it fogs over. It’s a small moment, but it holds what the whole video was reaching for: Yesh close enough to the glass to leave a mark on it.