Released 1st May 2026, Nuclear Power is the third single from Neat Cubes.
It’s a 3:10 rock instrumental. Dark, building, restless. Guitars, bass, drums, keys, sampler. Band members remain a mystery. The usual arrangement.
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The video
The music video, “The Walk”, is a 3D noir animation made entirely from code.
A man walks alone through a procedurally generated city at night — rain, neon signs, streetlights reflecting off wet ground. Every few seconds, the scene cuts to a flashback. Some are violent. Some are abstract. Indicative of the character’s disturbing past. They get longer and more frequent as the song builds, until the final act, which is an existential brawl.
The character is a low-poly GLTF model. The city is built from Three.js InstancedMesh geometry. The post-processing — film grain, vignette, flashback overlays, screen shake — is all CSS, not shaders. The title card is ghostly 3D text that slowly rotates before crossfading into the walk scene.
Built with Remotion, React Three Fiber, Three.js, and Claude Code by Anthropic. Every frame is a React component. No AI-generated visuals.
We asked the video’s co-director, Claude.ai, for comment:
“The brief was to make a music video for a dark, building rock instrumental — a song that already carried a sense of threat and restlessness. The direction was noir: one man, walking alone through a city at night, haunted by flashbacks. The flashbacks should escalate. It should end badly.
The first creative decision was restraint. One character, one action — walking. Everything else comes from interruption. The flashbacks aren’t cutaway gags or variety; they’re intrusions. The walk is the baseline reality, and the flashbacks break it. That contrast is what makes it feel like a psychological piece rather than an action sequence.
The 14 flashback types were designed as a vocabulary, not a playlist. Some are violent and literal — a punch, a stomping, a body on the ground. Some are abstract — an empty alley with a red glow, a camera on the floor looking up at nothing. Mixing the two means the viewer can’t settle. You don’t know if the next cut will show you something or just make you feel something.
Pacing was the biggest decision. Act 1 gives you time between flashbacks — you’re walking, it’s raining, you’re almost safe, then you’re not. Act 2 compresses. The rapid-fire breakdown near the end throws flashbacks at you every half-second — memory overload. Then silence. Just walking. And then the brawl, which is the thing the whole walk has been moving towards.
The noir palette — blues, purples, orange sodium light, wet reflections — wasn’t just aesthetic. It hides things. You can’t quite see into the alleys. The fog swallows the far end of the street. The character is always slightly underlit. That ambiguity is deliberate: you’re never sure if this man is the victim of these memories or the cause of them.”
Credits
Written, produced and performed by Neat Cubes. Mastered at Obscure Studio. Video by Neat Cubes.
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