Introducing: Polldarier

With Bode, Daniel doesn’t just release an album—he unveils a multi-sensory experience. Three self-produced music videos (Myself, Drug, and It’s All Me) form a visual trilogy that expands the album’s emotional core, each piece crafted with its own distinct narrative and aesthetic. Far from being just add-ons, these visuals are vital to the world of Bode—mirroring its raw honesty, inner tension, and ultimate sense of release.

1. Each of the three music videos—Myself, Drug, and It’s All Me—has a distinct visual style. What guided your creative direction for each, and how do they connect to the emotional core of the songs?

Each of my songs is raw, distorted, and loud—and I wanted the videos to reflect that same energy. I intentionally shot all of them on a phone, without paying much attention to settings or lighting, because I wanted the visuals to feel just as instinctive and imperfect as the music itself. This approach helped preserve a sense of authenticity and immediacy throughout.

2. You've described the visuals as "integral parts of the Bode experience." How do you see the relationship between your music and your visual storytelling?

For me, music and visuals go hand in hand—they're equally important. Often, visual ideas start forming in my mind while I’m still making the music. It wasn’t a conscious concept at first, but even with my earliest songs, I could already “see” them in my head. The visuals are an extension of the music for me—another language through which I can express what I feel.

3. Being self-produced, what were some of the biggest challenges—and rewards—you encountered while creating the music videos?

The biggest challenge is that I’m usually in front of the camera, so I can’t be behind it at the same time. I have to rely on someone else to shoot the footage, and even if we discuss everything in advance, things often don’t turn out exactly as I envisioned. That can make editing more difficult and require compromises. But the biggest reward is that the videos always get made—and I never feel like anything’s missing. Somehow, it always comes together in a way that feels true to what I wanted to express.

4. Can you walk us through the narrative arc or concept behind one of the videos that feels especially personal or revealing to you?

Myself is a very special song and video for me. It was my first track with lyrics, and the first time I was able to truly articulate how I feel about myself—how hard it is for me to accept who I am, and how much that inner struggle weighs on me. While creating the song, I already had a vivid image in mind: crawling naked through a forest, completely exposed, battling with myself. Because of the Irish weather, I had to move the shoot to a large, empty, dark warehouse. I wanted complete darkness, lit only by my phone’s flashlight—that contrast was essential to the atmosphere. The nudity symbolizes stripping myself down, suffering, but also confronting myself. In a way, this song became the starting point and emotional foundation for the whole album.

5. The aesthetics of your project feel both immersive and intentional. Who or what inspires your visual world, and how do you translate that into your production process?

I can’t really point to a specific artist or work that consciously inspired my visual world. I studied visual arts at university, but I never fully immersed myself in it on a theoretical level. My video ideas tend to come from instinct—they feel like they emerge from within rather than being shaped by outside references. I’m sure there are subconscious influences from things I’ve seen or experienced, but I don’t analyze or trace them back. For me, it’s more of a feeling-driven, intuitive process.