Björk, Vulnicura, 2015Copyright © 2015 Inez and Vinoodh. Image courtesy of Wellhart/One Little Indian

On the second floor, in the Marron Atrium, two spaces have been constructed: one is dedicated to a new sound and video installation, commissioned by The Museum of Modern Art, for “Black Lake,” a song from Björk’s new album Vulnicura (2015); and the second is a cinema room that screens a retrospective in music videos, from Debut (1993) to Biophilia. On the third floor, Songlines presents an interactive, location-based audio experience through Björk’s albums, with a biographical narrative that is both personal and poetic, written by the acclaimed Icelandic writer Sjón, along with many visuals, objects, and costumes, including the robots designed by Chris Cunningham for the “All Is Full of Love” music video, Marjan Pejoski’s Swan Dress (2001), and Iris van Herpen’s Biophilia tour dress (2013), among many others.

Courtesy Wellhart Ltd & One Little Indian via MOMA

Courtesy Wellhart Ltd & One Little Indian

Courtesy Wellhart Ltd & One Little Indian

Photograph by Danny Clinch via MOMA

Photograph: Tom Pietrasik for the Guardian

Photograph: Tom Pietrasik for the Guardian

via moma.org

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The “Kiss” singer will drop his own new effort Art Official Age on 29 September while simultaneously releasing Plectrum Electrum. The tracklist for his solo album has been shared with fans and will include songs such as “Clouds”, “The Gold Standard” and “Breakfast Can Wait”. An “aggressive and menacing” rap song featuring Rita Ora is also expected.

photo independent.co.uk

The album has been described as “classic Prince” as it has been composed, produced and performed by the musician himself. The psychedelic album sleeve has also been unveiled, showing the 56-year-old wearing space age glasses and a dazzling gold jacket.

via independent.co.uk

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What happens when three DJs meet?
Good music.

I assume that you had something in common, such as the same artistic scene. What more specific was you starting ground?

We all met playing the same parties and festivals up and down the West Coast.

photo windishagency.com

What did each of you bring into the band?

Well unlike a traditional band, we all started out as solo producers and DJ’s. We all know how to use the studio as our instrument.

Music critics and your audience use a large range of terms to describe your genre. How would you define it?

We always let the listener determine what our music means to them. The greater question is how would YOU define our music?

Why did you choose to work with Lemur?

We use the Lemur because it allows us to create our own custom control surface that you cannot buy at a store.

Drink the Sea was an album that established your direction. How did you get to this specific unity?

We just tell stories through our music. There’s not really a concrete answer for how we got there.

The music you make is so powerful and energetic and it suddenly reaches the audience. How does this process of creation take place?

Everything starts with an emotion or feeling that we are trying to convey. After that we try to craft the best musical story to convey those emotions.

What inspires you?

The thousands of people that bring The Glitch Mob experience to life.
Your shows have a very powerful visual component. Why are you interested in accompanying the music with visuals and light and more recently with acrobats?

The visual element is just another way in to the music. It’s just another way for the audience to get lost in The Glitch Mob experience.

You can compare geting up on stage and performing with…

You can’t compare it to anything. There’s no feeling quite like it.

Love Death Immortality is an album that proves even more that you are a band that must perform in front of a large audience. How does it feel to see your project becoming bigger and more famous?

We are just grateful that we get to play our music around the world and people enjoy it. Thank you.

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Although a spokeswoman for the museum said that the details of the installation would not be announced until the fall, the plan is to trace the arc of Bjork’s career through the seven full-length studio albums she has released since “Debut” in 1993, and to explore Bjork’s collaborations with artists, photographers and fashion designers.

photo evolver.fm

Sound and video clips, visual images, costumes and instruments will be included in the exhibition, as will a text written by Bjork and Sjon Sigurdsson that the museum describes as “both biographical and imaginatively fictitious.”

“Bjork is an extraordinarily innovative artist whose contributions to contemporary music, video, film, fashion and art have had a major impact on her generation worldwide,” Mr. Biesenbach said in a statement. “This highly experimental exhibition offers visitors a direct experience of her hugely collaborative body of work.”

photo gudmundsdottirbjork.blogspot.com

The museum also announced that the app version of Bjork’s album “Biophilia” (2011), which includes animation and graphics as well as music, has been added to the museum’s digital design collection. It is the first app in the collection, which includes video games, fonts, icons and other forms of digital art.

photo rendaspublicas.com

photo bjork.fr

via artsbeat.blogs.nytimes.com

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Exhibition view
photo plan-b.ro

”I am now trying to figure out on paper the theme of these exhibitions. The outline seems to be quite permissive, although unclear in some places; I am lingering while trying to draw the contact paths between apparently two different areas.The keywords are: surface, text, drawing, writing, cloth, weaving, paper, paint, canvas, relocation. I have been interested in each and every term mentioned above for a long time now and the exhibitions are a great opportunity to bring them together in dialogue. What connection could it be between these keywords and the objects, the artworks included in these exhibitions? I’m struggling to understand the meaning of surface, coat, text, relocation, not by their dictionary definitions, but rather by the link between their material essence and their spiritual quality. [...] Everybody knows something about drawing and paper. What exactly could we possibly search beyond the surface of a draw on paper? Perhaps the search should be done on the other side of the surface – within us. But what is a surface? What kind of unit do we use to measure it? Is it millimeter, micron, quanta? There are drawings and paintings – especially paintings – that cancel the surface and take your eyes and mind beyond themselves. The realistic and surreal ones have this kind of power. The drawings and paintings of children and those created at the very beginning of civilization get straight to your mind, without any mediators. But our eyes are not clean enough and we see these artworks through all the clusters of art history. [...]The relocation is the last element left on my list. Nobody can evade the final «relocation». I am talking about death, of course. My grandfather used to call it «the only justice in this world». Perhaps he was telling the truth, although using a radical terminology. But until then, we are bound to live with small relocations. Galpaia old church was no longer useful to its village – a new one was built and the old one might have been destroyed, as it happened to many other churches in the country, if it wouldn’t had been moved to Ciucea.”
(Gheorghe Ilea)

The Way Things Go, 2014, objects, dimensions variable
photo plan-b.ro

The solo exhibition of Gheorghe Ilea will be accompanied by a publication distributed at the opening consisting of the documentation of the project The Relocation Story, and of an artist’s intervention on one page of each issue of the publication.
The exhibition design was realized in collaboration with architect Attila Kim.

Dvera, 2014, objet trouvé (perforated paper) – detail; The Paintbrush I Used to Paint Ciucea-Galpâia, 2013, painting-object, 42×4×4 cm
photo plan-b.ro

Gheorghe Ilea (b. 1958, Bucea, Romania) lives and works in Zalau. Among his most recent exhibitions, we cite: 2013 – KM/H, Utopies automobiles et ferroviaires 1913-2013, Tour 46, Belfort & Musée du Chateau des ducs de Wurtemberg, Montbéliard, FR, Ciucea-Galpaia, Plan B Cluj, RO (solo), 2012 – Tronicart 1300, Sala Dalles / MNAC Bucharest, RO (solo), 2011 – Ceaţa-Fog-Brouillard, Art Museum Cluj, RO, 2010 – Figurative Painting in Romania 1970 – 2010, Romanian Cultural Resolution, Spinnerei, Leipzig, DE / Club Electroputere, Craiova, RO, 2009 – Excelsior – 10 Romanian Painters, Sol & Bartolomé Gallery, Santiago de Compostela, SP, 2007 – PAUSA, Muzeul de Arta Cluj, RO (solo).
For more information please contact the gallery at contact@plan-b.ro and +40740658555,
+40723662345.

via plan-b.ro

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We have a shortie but goodie selection, with some very nice videos from the likes of Flying Lotus, Lana del Rey or Tycho, stay tuned.

We begin with a new music video from one of the best US’ West Coast electronic producers – none other than Flying Lotus, this is the video for his track Phantasm from the critically acclaimed album “Until the Quiet Comes”, filmed over 2 days in a desert in New Zealand by one-man-studio The Bow, in a surreal, vintage mood featuring strange creatures, light beings, glitches, using stop motion special effects to really complement the calm/psychedelic tune of the music.

Next, a meticulously hand-drawn animation video for Metronomy’s Reservoir, directed by Daniel Brereton:

Sia’s new music video is for Chandalier featuring amazing 11-years-old dancer Maddie Ziegler of Dance Moms, interpreting Ryan Heffington’s mesmerizing choreography, video directed by Sia herself and director Daniel Askill – trying to communicate the song’s theme of childlike abandon. Amazing video this one…

And next, another girl singing, this time we have Lana Del Rey’s West Coast official video, featuring herself spending quality time as a happy girlfriend with her lover on the west coast, hanging out and having fun in a dark noir music video directed by Chris Sweeney and Sophie Muller.

The last of the music video, for Tycho’s heavenly cut track See from his latest LP Awake for label Ghostly – a beautiful music video for a beautiful song – a forest setup with a girl having an adventure, following a number of symbols and almost magical shadowy figures throughout her journey of discovery. The video is directed by the amazing G Munk (Bradley G Munkowitz) – check out his works here: http://www.gmunk.com/

And there you have it, this week’s [short] selection of videos for your viewing pleasure.

by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

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flynntalbot.com

This is a concept which has been scaled to suit the available space but can fit in many interiors. Visitors to the exhibition were presented with a long view of the piece, most thinking it was simply a 2D projection on the wall. On a closer look the 3 dimensionality of the work became apparent and the depth of the polygons (up to 2 meters) could be seen. The front and side view are very different, each offering a unique visual experience.

photo flynntalbot.com

Primary has been specifically designed to create the right ratio of shadow which is then illuminated by the opposing light sources. Light and shadow are working together and through a 10 minute programmed light show, a real feeling of movement is created. A soundscape completed the installation for a full immersive experience.

flynntalbot.com

flynntalbot.com

flynntalbot.com

via flynntalbot.com

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We have a mixed selection, stay tuned.

Starting with a graffiti video, artist Mike Giant drawing the lyrics of the song on a white wall, this is a Major Lazer collab with Pharrel “Aerosol Can”

Major Lazer – Aerosol Can ft. Pharrell Williams from DavibeJam on Vimeo.

Next, a bit of NSFW (heck! it’s Sunday, deal with it) – Brooke Candy new track “Opulence” directed by none other than famous photographer Steven Klein – lots of dark bling costumes, glitter, jewelry, speed, at glamourous party, starting Candy upfront rappin’ wild

Thomas Azier’s “Verwandlung” – a story of violent lust and dramatic longing for a connection – a bit explicit, but beautiful none the less.

Video by Sander Houtkruijer.

A slowly paced video, sort of a dreamy experience – ocean house, a writer and his muse, almost the setting of an italian drama film. Directed by Danny Sangra, this is Club Kuru’s “All the Days”

Club Kuru: All the Days on Nowness.com

EFDEMIN released “Transducer” with a video shot on Video 8 back in 1990 by Stefan Münster and edited recently by Philllip Sollmann – a deep pressure track, urban footage from Poland, unsettling atmosphere in this one, going back to those early daily after the Iron Curtain fall…

Next, something calm, Lykke Li’s “Gunshot” an acoustic version for H&M Life, a studio video, directed by Bell & Light and Lykke Li herself. A darkish performance, with accent red lights, going really well with the music. Beautiful.

Another live performance video, this time from Atoms for Peace “Before your very eyes” – featuring Thom Yorke & Co. blasting on stage with this energetic performance, you can see why these guys are so special, performing electronic music on real instruments, simply jammin’ together for the crowd, they on another level I guess – wish I could be there myself, oh well…

Part of Atoms For Peace’s Roundhouse shows series, courtesy of soundhalo.com

photo middle8mag.com

http://middle8mag.com/1/before-your-very-eyes

Kasper Bjørke released “Rush” (feat. Tobias Buch), the first single from his upcoming album. Directed by Rasmus Weng Karlsen – a “take it easy” video, an intimate show of two, lusty looks, low lights, a lap dance with a sensual reveal – yeah, you get the idea

David Lynch released some new material, this is “The Big Dream” a collab with Mobi,  featuring Mindy Jones – what can I say, an atmospheric video just like one of Lynch’s movies – a femme fatale performance by Mindy, all blurry, flashing lights, in grainy monochrome. “I wanted the video to look and feel like something that could have been made in Weimar-era Berlin in the 20′s,” said Moby, who also directed the video.

And after Lynch’s gloomy moods, a ‘50s styled video for Tiesto’s “Wasted” – a classic housewives’ tea party gone wild. This one is just for fun to start the weekend!

And there you have it, this week’s selection of videos for your viewing pleasure.

by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

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Artist Ryoji Ikeda has made a great impact worldwide with his installations and expressions using state-of-the-art electronic sounds ranging from the domain of microscopic and precise bit rate control to large-scaled projects in the public spaces. His new piece “supersymmetry,” the 3rd part of the YCAM commissioned work series, is an installation in where he approached the expression limits of data observation, which is his forte, as he explores quantum information theory and particle physics from an aesthetic viewpoint. In this work, he pursues overwhelmingly intensified expression via the studio spaces in YCAM.

photo vimeo.com

The “supersymmetry” is a new work conceived as an installation version of his performance work “superposition” (2012-) and as a platform to update the process and outcome of his forthcoming residence during 2014-15 at CERN in Geneva where is the largest center in the world for particle physics. It is a collaborative production between YCAM and Le lieu unique, scène nationale de Nantes with the support of the City of Nantes and the Ministry of Culture and Communication (France). Unveiled first in Japan, this installation will also be shown around the world.

photo vimeo.com

photo vimeo.com

Ryoji Ikeda “supersymmetry” from YCAM on Vimeo.

via http://supersymmetry.ycam.jp

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photo gizmag.com

photo youtube.com

photo gizmag.com

via roli.com

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We start with a black and white video of Kill J Bullet directed by Martin Garde Abildgaard, a scandinavian brutally beautiful The-Knife-ish look and style video.

Next, a new video from Dublin duo Lakker, Thermohaline, created by Lakker member Dara Smith – a 5 min plus composition of abstract shapes in shades of grey and white emerging from the clip’s dusty background – to go with the tough electronic beats of the track – to be watched in full screen HD for best quality.

Again, a “digital sculpture” for Sculpture’s Hackle Scam Populator – a crazy geometric array of shapes and motion graphics into a psychedelic and whirring kaleidoscope, to make your eyes spin out of control!

And the last of the “geometric” videos, a low-fi construct of simple shapes animated to vibrate in tune with the new track by Jamie xx Girl – simple is best!

Next, the first in a series of excerpts from project A U R O R A by electronic musician Ben Frost – directed by Trevor Tweeten and Richard Mosse – dark raw visuals explorations, thoughts of a deep space traveler – dreams of a cosmonaut – beauty of space loneliness.

Now it is time for a brilliant mix of classical music AND japanese pop-dancers – Symphony No. 9 Allegro con fuoco by Dvořák part of B-Classic festival that promotes classical music. Directed by Raf Reyntjens with choreography by Ari & Miu (Waveya).

The last video in this selection, another “dance” mix from South Africa featuring a new musical genre “shangaan electro” courtesy of famous Warp Records – I give you Tsekeleke by Nozinja, a producer largely credited with creating the genre. A jubilant, vibrant, funny video to start the weekend

And there you have it, this week’s selection of videos for your viewing pleasure.

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by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

The post FRIDAY AFTERNOON VIDEOS* appeared first on INHALE MAG.

photo youtube.com

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We start with an eclectic mix of colors in a girlish rap song, by Heartsrevolution, Ride or Die directed & produced by sweetheart Kate Moross.

Then we continue with a glitchy video directed by Kyle Bowman of Strawberryjacuzzi.com (specialized in glitchy-gif clips) for Evy Jane - Closer – a slow tune, running on distorted and scratched footage of Evy herself.

Hiro Murai directed the latest video from Childish Gambino Sweatpants ft. Problem, a crazy video featuring Gambino himself into a deja-vu mood with other selves, ending in a skit slow part into the woods… crazy talent right here!

Sundream is the fourth single from RÜFÜS‘ Gold selling, ARIA and J award nominated debut album ATLAS – directed by Jackson Mullane – it’s a kaleidoscopic video experience:

Then we have Poker an animated delight on this Shugo Tokumaru track – featuring lots of tiny creatures evolving one from the other, over and over again – directed by Mirai Mizue & Yukie Nakauchi of Mirai Film showing amazing character animation skills!

And after this crazy character animation – we have another animated short: Selfie by Andy Martin, a funny “60 second warning about self obsession” created for Pictoplasma’s http://characterselfies.tumblr.com/

Selfie from Andy Martin on Vimeo.

We get back to music with a Romanian video/track by Plurabelle Blood - this stop motion video “follows a young woman as she effervescently goes about her morning routine, despite her boyfriend’s obvious lack of reaction.” to go along with the 3rd track from this romanian music duo (Fierbinţeanu & Alex Bălă) debut LP to be released on Stellar Kinematics:

Also another one, from Romanian experimental/electronic jazzy pop duo Sibyl & Fransoa Burned Forest directed by Gabriel Durlan – a story of city and forest, of calm and aventure, of reality and dreams, of a brief encounter in the street, in a moment, two strangers – him, her and the strange forest in their mind – a “what if” story.

And I end this week’s short selection (Easter holiday coming up next) with an amazing video of Throwing Snow ft. Romanian producer/vocal diva Alexandra Pirici aka Adda Kaleh – The Tempest – showing dancers Femke Luyckx and Medhi Walerski clothed in the garb of ancient goddesses, replicated and spun into a series of entrancing mirages in this outstanding CGI piece by Rick Robin. Marvelous visuals to go with one of the best tracks released lately by London based Ross Tones aka Throwing Snow, a track even featured in the essential mix by Bonobo for BBC Radio 1 series here:

https://soundcloud.com/everybodywantstobethedj/bonobo-essential-mix-2014-04

Throwing Snow feat. Adda Kaleh – The Tempest from Rick Robin on Vimeo.

(see it in full HD!)

And there you have it, this week’s selection of videos for your viewing pleasure.

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by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

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We begin with the latest from Jamie XX “Sleep Sound” with the message “Music is a medium formed by silence and sound.” a film by artist Sofia Mattioli, working with 13 members of the Manchester Deaf centre, who responded to the movement of the artist and the vibrations in the air given off by the song.

Jamie xx: Sleep Sound on Nowness.com

Then we have sweethearts Warpaint with their new dual-video for “Disco//Very – Keep it Healthy” directed by Laban Pheidias – featuring the girls dancing, having fun with a bunch of skaters, during the day and then late in the night.

A disco dancing mood from Hypnolove in “Beyond Paradise” featuring Puro Instinct – a very high-tech-old-egiptean-symbolistico-video, directed by Romain Ficat. This one is kinda NSFW, but a visual delight indeed.

Next, we have one of the hottest creative duos around – The GOASTT band of Sean Lennon and gorgeoux Charlotte Kemp Muhl performing “Animals”, directed by Rich Ragsdale. ”It’s a loving spoof of the Source Family, that infamous ’60s cult of polygamous vegetarian hippies. We shot it on 35 millimeter and were inspired by the surrealist aesthetics of Jowdorowsky and Kenneth Anger.”

The GOASTT – “Animals” Video from stereogum on Vimeo.

In this new video by German house duo Booka Shade, director Ryan Staake takes 8 cameras into the sky, forming a 360 degree panoramic video to visualize the name of the track “Crossing Borders”:

Booka Shade – Crossing Borders from Pomp&Clout on Vimeo.

Another interesting video is the one for “Becoming Harmonious” by The Glitch Mob feat. Metal Mother, directed and produced by Susie Sie, using water, a subwoofer, a Canon 5D and a 100mm macro lens.

The Glitch Mob feat. Metal Mother – Becoming Harmonious (Official Music Video) from Susi Sie on Vimeo.

Next, a sultry video by ADCN – “Siren” directed by Werner Damen in collaboration with Claudia Crobatia featuring the amazing & very sensual slow dance of Molly D’amour

ADCN – Siren from SINCEproductions on Vimeo.

We end this week’s selection with a fresh new cinematic retro-futuristic spin on the classic Pinocchio story, a post modern fairy tale about the limitations of using technology to battle loneliness – “We must be crazy” by Milow, directed by Norman Bates.

Milow – We must be crazy from Norman Bates on Vimeo.

And there you have it, this week’s selection of videos for your viewing pleasure.

by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

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Some of the videos are NSFW, but the selection is beautiful

We start with a short movie, Unbovine yourself, produced by Stink and directed by Ian Ruschel, “the film wants to show the “bovinized” behavior of humanity, with people acting on default mode, following the same trends and rituals, which causes them to lose their individuality and originality.”

Created by Borghi/Lowe for the Creative Club of São Paulo Festival.

Unbovine Yourself from Ian Ruschel on Vimeo.

Next, we have a collab between The End is Near Italian clothing brand and the net based production team Post Religion.

“We used the concept of a fashion film to juxtapose memetic images relating to internet subcultures alongside the fast-food aesthetic of the collection. Designing a framework reality that parodies consumer culture, a world is created in which fast food is celebrated and idolised. In this fantasy world that allures to cyber culture images and hacker database visuals, reality is reflected as the aesthetic playground that is T.E.I.N clothing.” (quote via Dezeen)

And the last short for today, an exploration in sound visualization Invisible Acoustincs.
Light projected through a soap bubble throws patterns generated by the tiny vibrations of a speaker onto the ceiling in this installation by Royal College of Art graduate Dagny Rewera:

Invisible Acoustics from dagny rewera on Vimeo.

After these shorts, we continue with some music videos.

First, The Agency with Midnight Garden directed by Pim Mory and produced by sleepless production house.

MIDNIGHT GARDEN / THE AGENCY from sleepless on Vimeo.

Next, another concept video, Glass Animals Gooey beautiful calm track and a mysterious sensual video, this one looks like a Carioca production

We continue with the latest from Arctic Monkeys, the music video for their track Arabella,
directed by Jake Nava, a black and white shot rock & roll story.

The Portuguese pop indie band The Happy Mess released a new video for their single Backyard Girl. Directed by José Maria Cyrne and João Nunes – a story of two ladies, again shot in black and white, a truly beautiful and emotional video for this track. NSFW as the ladies are kissing each other rather well.

The Happy Mess – Backyard Girl from José Maria Cyrne on Vimeo.

And the last video for this week selection – a gorgeous, sensual, authentic feminine portrait of two girls having a special connection, the video Move On by Garden City Movement, directed by Michael Moshonov and Lael Utnik with help of photographer Mayan Toledano.

“The video was made with love. In today’s progressive world, it’s still hard for people to accept love between the same sex. This clip goes to show exactly that. It also shows that even if a heart’s broken it was still worth feeling love even if it was too short.”

And there you have it, some smooth visuals and fine tunes. Enjoy

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by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

The post FRIDAY AFTERNOON VIDEOS* appeared first on INHALE MAG.

onformative, founded by Julia Laub and Cedric Kiefer in Berlin, is a studio specialized in generative design solutions covering various types of media and topics.

photo onformative.com

unnamed soundsculpture from onformative on Vimeo.

Paul Prudence is a audio-visual performer and installation artist working with computational, algorithmic and generative environments. His work, which had been shown internationally, focuses on the ways in which sound, space and form can be cross wired to create live-cinematic visual-music experiences. He is also interested in data visualisation techniques, process-based environments and emergent systems. Paul maintains the research weblog Dataisnature in which he writes about the interrelationships between natural processes, computational systems and procedural-based art practices.

Lumophore
photo paulprudence.com

Lumophore from Paul Prudence on Vimeo.

onedotzero is an international moving image and digital arts organisation which commissions, showcases and promotes innovation across all aspects of moving image, digital and interactive arts. The organisation, founded in 1996, is known for representing a diverse array of artistic endeavour via the annual onedotzero_adventures in motion festival and associated touring. It has a cross media and collaborative approach attuned to technological advances and fast paced change within digital arts and the contemporary cultural landscape.

photo onedotzero.com

onedotzero x Acer from onedotzero on Vimeo.

John Talabot
If there is one person, who has been causing a stir on the international club circuit recently, it is Barcelona’s John Talabot. Already his debut “My Old School“ (which is meant literally by the way) on Permanent Vacation in 2009 and shortly after that the single “ Sunshine”, which he put out on his own Hivern Disc imprint, made him one of the most promising musicians of the Spanish electronic scene.

via http://resonate.io

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We begin this selection with an “oldie” actually, from 2012, Danny, Dakota & the Wishing Well by A Silent Film, a video about getting lost somewhere, but still turning it into an adventure – great cinematography in this one.

Next, the video for Cut & Copy We Are Explorers track, a lo-fi feel, with a lot of technology behind the making of it – the video uses characters all printed using a 3D scanner with a UV reactive filament, meaning they glow in the dark. About 200 different figures were printed and used in the stop motion animation. Directed by Masashi Kawamura, Qanta Shimizu, Aramique Krauthamer, with creative agency Party.

Hey Now is London Grammar‘s new single taken from the latest album If You Wait.
A playful, magical video, going really well with the music. Forest at night, ghostly setting, stop motion animation.

Dmitry Zakharov directed an amazing mechanical 3D animated video for Max Cooper’s Impacts track, all synched to the music.

MaxCooper – Impacts by Dmitry Zakharov from Dmitry Zakharov on Vimeo.

Next, Talos with Tethered Bones. Video written, directed, and edited by Brendan Canty and Conal Thomson of Feel Good Lost, following a domestic story, beautifully shot & edited and with great acting also.

Neneh Cherry is back on the music scene, with a new album – Blank Project and we have her with a new video for Out of The Black debuted on noisey tv, featuring Robyn!
The video created by artist Dario Vigorito AKA 241-24-7, in a crazy cut-copy-paste style.

Then, in the same style, we have a video NSFW, a collab between Mister D and the famous fashion model Anja Rubik! This is the video for Chleb, written & directed by KRZYSZTOF SKONIECZNY of głębokiOFF. The clip is so ridiculous that is actually cool :))

<<We’re not sure how supermodel Anja got involved, but her presence and styling truly takes this intentionally amateur farce into the realm of the sublime. Chleb means bread, and this video feeds it to the masses, peeking in on Polish stereotypes with New Wave Cinema-meets-contemporary “Internet Art” cynicism. America, say hello to the discreet charm of the (Polish) bourgeoisie, and to a realness you’ve never seen before on Rubik.>> writes Natasha Stagg for V Magazine.

And there you have it, this week’s selection of videos for your viewing pleasure.

by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

The post FRIDAY AFTERNOON VIDEOS* appeared first on INHALE MAG.

This years festival enters a new day and night location who have an advantage over all venues from the years before: both scenes are close by and within walking distance. On the bill are so many highlights that it is hard to highlight one. Kraftwerk will show their acclaimed 3D performance. Laurent Garnier plays an exclusive back-to-back set with Motor City Drum Ensemble. Furthermore internationally celebrated artists such as Actress, Earl Sweatshirt, Four Tet, Trentemøller, Marcel Dettmann, Tensnake, Robert Hood, Axel Boman, Wooden Shjips, Darkside, or Oneohtrix Point Never travel to the beautiful city of Lyon to play their remarkable music.

The aim of the festival is to mix innovative culture from the past, present and future. Visionary spirit and curiosity, blending together big and new names, popular music and avant-garde. For 10 years, it has turned the city of Lyon upside down, for 5 days and 5 nights, like a giant playground for those who love and want to share this culture and this spirit: the one of quality of music, curiosity and fun.

28/05/2014 – 01/06/2014 – Nuits Sonores – Lyon – FR

FULL SCHEDULE 2014

Kraftwerk started their visionary journey into the future more than 40 years ago. These forerunners in electronic music, and self-described “music-workers and operators” have influenced every genre imaginable.

The concert will be a “perfectly synchronized audiovisual spectacle complete with pristine digital sound and 3-D projections. It is a pure electronic art-rave that showcases Kraftwerk’s musical and technical innovation.”

Laurent Garnier (born 1 February 1966, Boulogne-sur-Seine, France), also known as Choice, is a French techno music producer and DJ. Garnier began DJ-ing in Manchester during the late 1980s. By the following decade, he had a broad stylistic range, able to span deep house, Detroit techno, trance and jazz. He added production work to his schedule in the early 1990s, and recorded several albums.

Thebe Neruda Kgositsile (born February 24, 1994), better known by his stage name Earl Sweatshirt, is an American rapper and member of the Los Angeles-based hip hop collective Odd Future. He is signed to Columbia Records, as well as his own label, Tan Cressida. Earl gained recognition and critical praise for his debut mixtape, Earl. Following its release, he was sent to a boarding school in Samoa by his mother until his eighteenth birthday. On August 20, 2013, he released his debut studio album, Doris.

Kieran Hebden (born 1978), best known by the stage name Four Tet, is a post-rock and electronic musician. Hebden first came to prominence as a member of the band Fridge before establishing himself as a solo artist.

Hebden’s music originally eschewed the traditional pop song format in favour of a more abstract approach—his sound and melodies incorporate elements of hip hop, electronica, techno, jazz, grime and folk music with live instrumentation. His newer works are inspired heavily by house music.

- via carhartt-wip.com

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We start with MOZ a Guatemalan band, who released a video for Oasis, directed by Tony Ung – an L.A. based film maker and the video is about two girl friends having an adventure in the American wastelands, just wanting to escape…

Next, another female duo, the Munich based trip-hop Luko with a video for Good or Bad -  an atmospheric clip starring the two protagonists Leslie-Vanessa Lill & Lena Meckel and being produced by Stef Zins.

Yumi Zouma released The Brae / A Long walk home for parted lovers – a cool hang out and having fun video about 2 girls and 1 boy in a mixed-feelings situation. You know how that goes…Video directed by Eugene Kotlyarenko.

Hundred Waters with a video for Cavity – dark & moody feel, exploring lights & silhouettes in the night – a sort of trippy video – but very well directed for this track by Michael Langan of Langan Films (http://langanfilms.com/)

Next we have Run the Jewels with a self titled mixed media, trap fueled video Run The Jewels directed and animated by one of my favorite motion graphers RUFFMERCY (http://ruffmercy.com/) – This. is. pure. visual. madness!

Our sweetheart Maya Jane Coles released a new video for Comfort – a bio/human/earthly/grainy/eco/video – a bit NSFW as it involves mild nudity, but a very well done video directed by Jonas Lord.

And another wild/nature video for Chiara by Vendredi – directed by duo Matthias JENNY & Koya KAMURA – wild forest, ancient times, an ancient chase of a savage woman for a man, switching roles, becoming a canibal herself… this is the NSFW violent version:

VENDREDI – Chiara (Censored version) from Koya KAMURA on Vimeo.

(Censored version)

A video tribute to Takashi Ishii – a visual delicacy, cut, chopped, mixed from various asian movie clips and edited by Silver Strain for Carpenter Brut – Obituary track. The video contains NSFW parts… BUT IT’S FUCKING AWESOME!

Carpenter Brut – Obituary from Silver Strain on Vimeo.

BANKS, another favorite musician released a new video for Brain – featuring herself over-exposed between darkish motion graphics, produced by David Robertson and directed by Barnaby Roper. A beauty of a video for a great music track.

And after the hugely successful “kissing strangers” FIRST KISS video

we finish this week’s selection with a music video of the same kind – Shura Touch directed by Ammr Khalifa – a chill back track, a beautiful studio-shot video featuring random beautiful people starting to kiss and touch – a video exploration of attraction:

So, enjoy the music and the videos and have a great weekend!

by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

The post FRIDAY AFTERNOON VIDEOS* appeared first on INHALE MAG.

In no particular order this time…

Max Cooper’s Empyrean – directed by Joseph Murrell and I quote: “for the video, Joseph Murrell employed a different approach from my norm, creating sets and props to give an entirely real footage video rather than the usual CGI. He has reinterpreted the concept a little, with a circle of life format here, abstracted and sometimes cryptic, but all created with natural forms, and still tied to the original empyrean, but now on earth.”

Next – not one, but TWO newly released videos by Placebo for Hold on to Me (directed by Patrik Andersson) – a slow paced night video, a wandering woman:

and for Rob The Bank – a slow motion furious black & white studio video, trying to feature the pulse of the world right now, with scenes of street clashes, toxic marriages, poor kinds in the streets, disease, all signs of a fucked up world… but still, hope is not lost as we see in the last scene:

After Placebo’s gritty view of the world, we switch to some hip-hop videos…

First one, from Iggy Azalea for Fancy – a parody to all the 90s high-school teen movies.

The second one, by A$AP Ferg – lifted from the Trap Lord – Let It Go – a wack video featuring lots of street cred, ninjas, Terminator style graphics, explosions, lazers, you name it… all that just to save a ghetto queen of his.

And from the same grew, we have A$AP Rocky new video, released under his alter ego Lord FLVCKO, Riot Rave featuring Baauer. At the start of the video, a disclaimer indicates that the riot is real and it took place in all five boroughs of the city as a way to “blow off steam for all the youth, outsiders, outcasts, rejects, underdogs, and just straight up weirdo mother-fuckers.” The short clip comes as an introduction to Rocky’s forthcoming instrumental album Beauty N the Beast: Slowed Down Sessions Chapter yo!

From the US to the UK, we have another hip-hop/grime video of Trimbal performing Confidence Boost (Harmonimix) – the track is written and produced by none other than James Blake, with the video being directed by Rollo Jackson.

Next, the new & awesome video of St.Vincent performing Digital Witness, directed by Chino Moya:

St. Vincent “Digital Witness” from chino moya on Vimeo.

And another beautiful performer, our favorite Lykke Li with a new video for Love Me Like I’m Not Made Of Stone – a slow video, featuring herself, a way more fragile state. Beautiful performance to go with the track.

We close this week selection with a saucy video produced by The Jullien Brothers for The Coward’s track Statues featuring funny animated illustrations of sex scenes. This one is almost NSFW, but give it a go anyway

The Coward – Statues from Jullien Brothers on Vimeo.

by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

The post FRIDAY AFTERNOON VIDEOS* appeared first on INHALE MAG.

We got some gangsta shit up in here, starting with UK’s P Money Mad video – black & white classic, rap video, featuring lots of swag, women, money – no weed though…
A bit NSFW but still raises the roof.

Then we get the new track from Jakwob featuring Tiffani Juno – Somebody New a loose dancing tune, a hang out girl video trying to find her new crush. Directed by Billy Boyd Cape, beautifully shot, purfect friday night delight…

This next one is a bit oldie, but a good one, fun and a bit weirdish Dan Bodan’s Anonymous slow tune, slow motion bits of footage featuring a bunch of people in crazy situations – from a weird bedroom to a forest, firing fireworks, throwing darts, jumping around, hanging around…this one is for the lonely ones, the crazy ones.

Next, we have a new one from Rivver – LAMU directed by Mathieu Grimard – a series for 25 slow-mo portraits of people – featuring 25 different mini-stories. Every person is shot behind something transparent – glass, plastic, water, etc. – an outside view on all these characters.

Rivver | LAMU from mathieu grimard on Vimeo.

Twigs is still rocking hard, keep releasing new tracks and videos – this new one like a short promo movie, directed in collaboration with Nick Walter – FKA x inc – black and white, mexican countryside, slow beat, beautiful vocals, the perfect setup to collaborate on new music with band inc.
Their collaboration available here http://fka-x-inc.com/

Julio Bashmore featuring Jessie Ware released Peppermint a crazy dance track, with a crazy 3D video, carefully mixed to the track, with lots of elements from singing faces to mime hands, clowds, polygons and studio mountains, jumping dogs and black hearts.

Backing away from music for a change, we have a BMX video, the bmx flatland legent Matti Hemmings featured in a clip where he took over Tate Modern gallery doing what he does best – some amazing bmx tricks, part of the somewhereto.com performance series.

And I close this week selection with the showreel of one my favorite creative studios – Universal Everything – working with generative art, particle generators, live visual shows, big video murals and lots more. Amazing work right here:

Universal Everything Reel 2014 from Universal Everything on Vimeo.

by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

The post FRIDAY AFTERNOON VIDEOS* appeared first on INHALE MAG.

We open the selection with a slow-mo dancing video, directed by filmmaker Dugan O’Neal and Ry X of The Acid – Basic Instinct beautifully shot in San Monica, Ca.

The Acid: Basic Instinct on Nowness.com

Forest Swords just released a video for The Weight of Gold in anticipation of their extensive world tour, directed by Benjamin Millepied and featuring androgynous dancer Billy Barry bounding over barren landscapes throughout Israel, as the atmospheric track nudges Barry’s primal movements with drum clacks and howling waves of filtered guitar.

Forest Swords: The Weight of Gold on Nowness.com

Next, to continue on a “basic” human level, I found a making-of clip about the work process of artist Sam Jinks – featuring amazing hyper-real sculptural work of – almost real – people! Sam creates his work out of silicone, fiberglass, resin, calcium carbonate and real human hair, to capture still moments of vulnerability and silence, striking portrayals of the human condition.

Also worth mentioning, is a video from indie electropop artist iamamiwhoami for her track Fountain, a majestic performance over the backdrops of raw northern (icelandic?) realms.

iamamiwhoami; fountain from WAVE on Vimeo.

Now back to music, with the latest from Metronomy – Love Letters released just before Valentine’s Day this year, directed by Michel Gondry as a retro-set-band-performance-story-thingy to go with the retro vibe of the track.

Phantogram released a new video as well, for their Fall in Love track from the new album “VOICES”. The video is a collaboration between some well known creative folks – director/photographer extraordinaire Timothy Saccenti + generative code wiz Joshua Davis and agency Sub Rosa – the video is mesmerizing, shot in black and white, featuring the Phantogram duo performing the song over Joshua’s generative graphics backdrops & projections. Cool!

After a love song, I present next a no-love song, from the hardcore industrial hip-hop band Death Grips, latest No Love video – directed by themselves… 3D effect on footage from a live concert, bluntly disrupted by “I used to give a fuck” messages. This is some intense stuff…

Chet Faker released a video for Talk is Cheap featuring himself, his portrait gradually awakening from Winter’s ice, into Spring flowers, Summer sun and sand, Autumn’s fallen leaves and back into Winter… a full circle – video directed by multidisciplinary creative duo Toby & Pete.

The National finally released a video for their well known I Need My Girl track.
Shot in black & white, directed by Sophia Peer – the video features elegantly dressed couples slowly dancing, celebrating their connection. Simply beautiful!

Another black and white video, for C2C Arcades a vibrant video directed by Rémi Paoli featuring actress Charlotte Poutrel dancing, jumping, falling, in all sorts of ways…

Chase & Status duo have a new song and video – Blk & Blu featuring british youngsters having fun, going wild – you know – that sort of thing…

Finally, another Zebra Katz video for LAST NAME KATZ directed by Ruben XYZ & Zebra himself, revealing high end debauchery, katz eyes, models going wild in a “was it all a dream?” mood… NSFW ofc!

by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

The post FRIDAY AFTERNOON VIDEOS appeared first on INHALE MAG.

The first confirmed artists of this years edition are such producers as Atom TM who will present his latest project HD, the American drone, techno, and synthesiser wizard Vatican Shadow, Robert Henke aka Monolake and his audiovisual Lumière show, and the Bristolian Vessel who brings his hybrid sound of crooked EDM, raw house, and foggy industrial beats.

L.E.V. stands for Laboratorio de Electrónica Visual or, in English, Laboratory of Visual Electronica, is a project that tries to show a panoramic, eclectic and qualitative vision of the ample spectrum of current genres that come from connecting visual arts and electronic music.

A physical and ephemeral space, concerned specifically with four themes: the natural synergy between image and sound, the live presentation, the relationship established between audience, artist connection and public space, and the new artistic tendences that constantly emerge on a global level.

The seventh edition of L.E.V. will be celebrated on May 3rd and 4th across the different spaces of the Laboral Ciudad de la Cultura project (Laboral City of the Culture), in Gijon, Spain

Vittus

SOAP SKIN

GHOSTPOET

– via http://levfestival.com/

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The Expo is also a dynamic platform for designers and creative businesses to showcase their wares and market themselves to the general public and industry buyers.

Since 2004 Design Indaba Expo has been held annually at the Cape Town International Convention Centre, with more than 35 000 people coming through the doors each year.

It has grown to become the biggest curated design event in the Southern Hemisphere and is the only platform that welcomes advertising, craft, decor, fashion, product design, industrial design, new media, publishing, visual art, jewellery design and graphic design, all under one roof.

Following its debut at the past Sundance Film Festival, catch the African premiere of Finding Fela – a portrait of Fela Kuti.
The film directed by Alex Gibney explores the life and music of this Nigerian multi-instrumentalist, musician and composer, Fela Kuti. Kuti is regarded as the pioneer of the Afrobeat music genre who used his music as a weapon, as a confrontational platform to expose issues of human rights and social justice.

Millions know their voices, but no one knows their names. In his compelling new film 20 Feet from Stardom, award-winning director Morgan Neville shines a spotlight on the untold true story of the backup singers behind some of the greatest musical legends of the 21st century. Triumphant and heart-breaking in equal measure, the film is both a tribute to the unsung voices who brought shape and style to popular music and a reflection on the conflicts, sacrifices and rewards of a career spent harmonising with others.

James Dewitt Yancey, more commonly known as DJ Dilla. Ever since his passing in February 2007, there has been month-long tributes to this legend held annually the world over. From Dilla Day Detroit in the US and weheartbeat’s Dilla Day in Johannesburg to The Basement in Sydney, Australia.

It is because of his pioneering contribution to the genre as a wordsmith, producer and multi-instrumentalist that people such as Cape Town-based beat-genius and creator of Button Bashers Cape Town, Luc Veermeer are able to apply themselves musically using Dilla taught techniques to move crowds.

Ceramic Factory has been making a wide range of items for hotels, game lodges, interior designers and retail spaces since 2012. Their covetable collections include pot plant holders, miniature animals and robots, crockery and wall hangings, all of which liven up any living space.

At Design Indaba Expo 2014, the factory is showcasing their Skull range. The collection is inspired by South African wildlife and comprises a variety of biltong bowls. Each piece features a small ceramic skull around which biltong is placed when serving.

photo designindaba.com

photo designindaba.com

via designindaba.com

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So we begin with the latest from Pixies – Magdalena directed by Judy Jacob and starring a troubled young woman pictured in various encounters, with a haunting feel to it.

Next, Son Lux’s Alternate World from directors duo Truman & Cooper and DOP Victor Seguin – a beautifully shot love entanglement between two artists it seems, with ups and down and moments of joy + madness. The video & the track are very well brought together, really giving the impression of an “alternate world” present there.

Disclosure’s F for You featuring the great Mary J. Blige doing the vocals, directed by sweetheart Kate Moross – a combination of live action mixed with crazy motion graphics does the trick for this one.

Jerome Potter comes back with another crazy video, “filmed” on his desktop to go with the latest Deleted track featuring vocals from Sara Z, involving LOTS of small clips – Deleted Videos – directed by a long list of people, from Abe Cavin to Woodkid. Funny and unconventional music video…

Chromeo recently released a new dancing video, for Come Alive featuring Toro y Moi – a sexy video, involving female mannequins coming alive (of course) in a shopping mall set, messing around with the guys

A newcomer Kyla La Grange released a “magical”, girlish music video for her Cut Your Teeth track, based on the concept of “skeletons in the closet”. Pretty nice visuals.

Birdy also has a new video for 1901 – a cover song originally by Phoenix, together with a video about a lovely couple and… about love!

Love has its ups and downs so this next video tries to portray a domestic fight through a graceful dancing scene of two lovers – Arthur Beatrice’s new video for Midland:

Up next, King Krule’s A Lizard State video, with an introduction from the master of suspense himself – Hitchcock.

Also Reptile Youth released the other day JJ, directed by Rasmus Weng Karlsen – a black and white beauty of a video, featuring the band – in slow motion action, following Rivers That Run For A Sea That Is Gone title of their new album, due to be out on March 10th.

I’m closing the selection with the latest from Pusha T – Suicide featuring Ab Liva (silhouetted on a red background – classic!), directed by Nathan Brown in black and white-ish glory. Deep beats, flashing visuals, snakes and rapper jewelry, all there.

by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

The post FRIDAY AFTERNOON VIDEOS appeared first on INHALE MAG.

Common narratives of music’s radical evolution over the past century usually favour a few exceptional individuals whose achievements are undisputed, and whose stories are used to exemplify music´s major revolutions and transitions in bold strokes.

Dinos Chapman is a transgressive visual artist who recently released two collections of experimental music.

Chapman studied at the Ravensbourne College of Art and is best known for his collaborations with his brother, Jake Chapman, as the Chapman Brothers.

In 2013, Chapman made his music production debut with Luftbobler (Norwegian for “air bubbles”). A site-specific audio-visual installation of Luftbobler was staged The Vinyl Factory in Soho, London to accompany the release in February 2013. The release is part of a series of fine artist collaborations mounted by The Vinyl Factory, including recent editions by Martin Creed, Jeremy Deller, Gavin Turk, and Tim Noble & Sue Webster. Six months following, Chapman struck again with a new EP, Luv2h8, which included a remix of “Luftbobler” by producer Trevor Jackson. The release exhibited a stylistic progression for the artist, and was described by The Wire as combining “horror and melancholy potently.

photo ctm-festival.de

Self-described techno shaman James Holden has emerged as a leading force in the field of exploratory, unbound electronic music.

Holden burst onto the UK scene in 1999 with the exuberant teenage trance hit, “Horizons”, produced on a basic home computer setup while studying for a degree in Maths at Oxford University. “Horizons” was followed by a spate of singles and remixes that cut closer to popular music than the experimental or avant-garde.

However, it was 2013’s The Inheritors that firmly established Holden as an important and inspired contemporary producer. Named after the novel by Nobel prize winning author William Golding, The Inheritors is a sprawling, occasionally cacophonous divination of hidden, primordial, and wild places counterposed against a techno schema and suggesting the influences of ceilidh music and krautrock, psychedelia and pentatonic folk scales, pastoral minimalism and pagan rituals. The Inheritors was named 2013’s Album of the Year by Resident Advisor, among numerous other critical honors.

photo ctm-festival.de

The work of Thomas Ankersmit ranges from performances on rare analogue synthesizers to microtonal improvisation on alto saxophone and explorations of anechoic chambers, abandoned radar domes, and otoacoustic emissions.

Initially an improvising saxophonist, Ankersmit established himself as an explorer of the timbral extremes of the instrument, pushing it into uncharted territories far removed from the tropes of jazz or improv. More recently, Ankersmit’s interests have expanded into improvised electronics. Using a computer and synthesizers, he constructs electronic hives of micro-sounds and signals with an acute sense of detail and intensity, combining the delicate instability of analogue synthesizers with the precision of computer editing and multi tracking.

photo ctm-festival.de

Under the moniker Lichens, multi-instrumentalist Robert Aiki Aubrey Lowe explores the use of voice in the realm of spontaneous music.

The Brooklyn-based artist’s inaugural solo album, The Psychic Nature of Being, was released on Kranky in 2005, and he has registered a number of other works for Holy Mountain and HOSS Records. His recent limited-edition full length, Lítiõ Fólk (Morc Records, 2012), features artwork by the artist himself and develops around a worldless vernacular of deconstructed and a cappella folk-inspired melodic lines.
Lowe’s composition for Last Kind Words received the prize for Best Original Score at the Brooklyn Film Festival in 2012, and he has also begun integrating visual projections into his live performance via collaboration with artist Patrick Smith, such as the vector-driven animation piece, “Clouds”.

photo ctm-festival.de

Mary Ocher aka Mariya Ocheretianskaya is “possibly possessed by demons, perhaps by ghosts of deceased prophets”. Born in Moscow in 1986 raised in Tel Aviv, Israel, she has become a prominent performance personality in Europe over the past six years, creating garage-influenced avant-pop and participating in a freewheeling sweep of creative initiatives.

At age 14, Ocher recorded her first song, produced by Israeli musician Idan Raichel. Upon moving to Berlin several years later, her band Mary and The Baby Cheeses produced a handful of DIY releases, including Analog music for a digital generation, followed by a 2008 solo release, War Songs, a compilation of “acoustic and apocalyptic” politicized folk songs. Her 7” Man Of 1000 Faces was produced by Canadian rock & roll guru King Khan of Black Lips and released via Haute Areal in 2011. Her second album, EDEN, was released via Buback in 2013 and named an Album of the Year by Intro Magazine.

photo ctm-festival.de

More here: http://www.ctm-festival.de/news/

via ctm-festival.de

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photo cdn.stereogum.com

photo c-heads.com

And continuing with another adventury video, this time filmed in a urban setting from The Script for their Millionaires track, featuring a bunch of young teenager friends having fun around the neighbourhood like there no tomorrow…

photo vimeo.com

Stealing Sheep next, with a video for their Rearrange tune, directed by Jack Whiteley, involving diamonds, smoke, fire, monsters, dancing and hypnotism in all kinds of ways.

photo bloodyloud.com

So, there you have it, these are this week’s video choices, enjoy and have a great weekend.

by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

The post FRIDAY AFTERNOON VIDEOS appeared first on INHALE MAG.

We open the selection with Disclosure’s latest, Grab Her directed by Emile Sornin – this is the kind of video that pulls you from your office chair and makes you move yo’ ass this friday afternoon…

photo pitchfork.com

photo stereogum.com

Next, we have a wintery video from ZEBRA FUUUUUUCKIN’ KATZ – WINTER TITTY – a pov style clip directed by Ursula Mann, mixing video from ZEBRA’s gigs + snow (‘cuz we miss the snow here in Bucharest right about now).

photo youtube.com

The first single Do I Wanna Know? from the critically acclaimed fifth studio album “AM” by the Arctic Monkeys. A (mostly) black and white video in their signature lines visual treatment to go with this smooth tune.

Again, a ZEBRA KATZ video for his Y I Do track, a dark clip filmed in a studio setting reflecting his crazy personality.

photo okayplayer.com

We conclude this week’s selection with the latest from Nils Frahm for Says – a calm and beautiful black and white visual creation by Romain Assénat & Ana Silva with the support of Atelier Graphoui, to complement the amazing music.

photo spin.com

by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

The post FRIDAY AFTERNOON VIDEOS appeared first on INHALE MAG.

Long before it became fashionable to melt art and music the Club Transmediale (short CTM) festival started to present things differently. Originally launched as a musical addition to the Transmediale media art festival in 1999, CTM tries to unify two cultural fields under one roof to shed some light on artistic expressions that belong to a more underground sphere of action. The anniversary edition features a very special program under the theme Dis Continuity that connects past CTM experiments with the practice of contemporary music. The festival takes place in venues all over the town such as HAU, Berghain, Stadtbad, Haus der Kulturen Der Welt, or Künstlerhaus Bethanien. On the bill is a new incarnation of the Moritz Von Oswald Trio that will perform for the first time in Berlin. Instead of original drummer Vladislav Delay, pioneering Afrobeat drummer Tony Allen will play alongside Max Loderbauer and Moritz von Oswald. Furthermore some world-famed Berliners like Marcel Dettmann, Recondite, or Mark Ernestus who will present the Ndagga group Jeri-Jeri, play, too. Highlights from abroad are the shows of DJ and producer Boddika from London, Tokyo based experimental musician Jim O’Rourke, Hamburg’s latest thrilling dance music export Helena Hauff, and Border Community head-honcho James Holden who will perform his new album The Inheritors live. As very special guest the Dub-Techno project Porter Ricks plays again after years of deep sleep and Robert Henke aka Monolake presents his freshest audio-visual project Lumière. In addition to music lots of lectures and art exihibitions around and about sound complete the program. For tickets and detailed information check the festival’s website.

01/24/2014 – 02/02/2014 - CTM - Berlin – DE

CTM brings its Closing Concert to the Haus der Kulturen der Welt to celebrate its anniversary together with longtime partner transmediale, with whom CTM has worked to present one of the world’s largest annual platforms for reflection on the cultural significance of new technologies and digital culture. Also the last of three collaborative CTM / transmediale concerts, the evening features frequent CTM collaborator Robert Henke, known for his peerless Monolake productions. Henke will close CTM’s 15th edition with the German premiere of his stunning new sound and laser show, Lumière. An exploration of the syncronicity and divergence of light and darkness and of slow movements and sudden bursts of motion and noise, Lumière elevates Henke’s expertise as he commands three powerful lasers to draw repeating shapes, ephemeral objects, and ultra short pulses of light in an improvised dialogue where shapes create sonic events and vice versa.

American minimalist composer Phill Niblock has been active in multimedia endeavours since the mid-60s. While often associated with American Minimal Music and its protagonists, such as La Monte Young, Terry Riley, Steve Reich, and Philip Glass, Niblock has remained a maverick presence on the fringes of the avant-garde, who has ventured further into profound reductionism than his contemporaries. This celebrated composer, who turned 80 this year, will present a selection of recent works that have not yet premiered in Berlin. Performing together with Niblock will be the 4-piece experimental brass ensemble Zinc & Copper Works, founded by microtonal tuba player Robin Hayward, who has collaborated with other notable pioneers such as Catherine Christer Hennix. Niblock will also perform with New York drummer and installation artist Eli Keszler.

The previously-announced exploration of Finnish composer, designer, artist, scientist, and experimental filmmaker Erkki Kurenniemi, who in the 1970s developed revolutionary electronic music and the first digital synthesizers ever made, will be supplemented with a series of films by the artist himself, or that include soundtracks or other contributions by the idiosyncratic artist and inventor. A collaboration with the KIASMA Museum for Contemporary Art in Helsinki, the programme includes works by Erkki Kurenniemi, Finnish experimental filmmaker Eino Ruutsalo and Swedish composer and artist Ralph Lundsten, and is curated by Finnish film artist Mika Taanila, whose acclaimed Kurenniemi documentary “The Future is Not What it Used to Be” will also be shown.

A major influence on the European free improv scene, drummer Sven-Åke Johansson has collaborated with musicians such as Alexander von Schlippenbach and Peter Brötzmann, with whom he forged a European variant of free jazz in the 60s. Johansson may also be considered a godfather of Berlin’s echtzeitmusik scene, a community of musicians that continue to fashion their own unique variant of improvisational music and that includes Thomas Ankersmit, previously-announced to perform that same evening alongside Rashad Becker.

Six months after the release of his acclaimed debut album, Dinos Chapman returns with a new EP, Luv2h8, showcasing three brand new tracks that mark a clear progression for the artist-turned-musician.

Clocking in at nearly 10-minutes each, these new compositions encompass the throbbing, dancefloor-orientated title track, the bucolic and unnerving ‘The Combine’ and the snaking, hypnotic ‘Samourai’. Also included is a monstrous proto-techno style remix of Luftbobler’s title track by producer Trevor Jackson, who will be supporting Chapman at his live AV show at Fabric on October 17.

The vinyl EP features two 180-gram heavyweight records housed in a bespoke full colour sleeve with artwork by Chapmanand was released on the 14th of October 2013.

DINOS CHAPMAN

via ctm-festival.de

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Best known as the Grammy-nominated co-founder of Shiny Toy Guns, multi-instrumentalist Jeremy Dawson—imposing, with raven-colored bangs obscuring his hawk-like angular features—carries himself with the quiet confidence of a battle weary Tolkien Ranger. Vocalist Ariel Levitan evokes a young Alison Mosshart, coupled with the surging all-eyes-on-me effortlessness of Angelina Jolie’s haunting and seductive portrayal of troubled top model Gia Carangi. The duo relishes straddling the fine line between light and dark—as well as navigating, and often deliberately disrupting, the fault line between their fierce desires both to shun industry norms, and to share their music with the world. Currently, MXMS has released only one track to the public, “omg,” a song recorded only moments after the two met in a shared studio/workspace in LA. The song is catchy, beautiful, and shockingly personal.

Photography DIRK MAI

Photography DIRK MAI

Photography DIRK MAI

Photography DIRK MAI

Read a full interview in the Interview Magazine.
via interviewmagazine.com

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Left: A still from Robert Wilson ‘making of’ film of Lady Gaga’s performance-art piece ‘Flying’, on show at Paris’ Galerie Thaddaeus Ropac. Right: A detail shot, showing Gaga’s painful-looking initiation into the art of Japanese rope bondage
photo wallpaper.com

The collaboration began after Wilson received a phone call from the singer, saying she’d like to discuss projects they might work on together. He subsequently designed the set for her 2013 MTV Video Music Awards performance. And he suggested that she pose for his series of video portraits, also featuring celebrities like Brad Pitt and Winona Ryder.

Inspired by an upcoming stint as guest curator at the Louvre, Wilson chose themes from the museum’s collection, all dealing with death, for his collaboration with Gaga. The larger-format video of the singer (pictured centre at Galerie Thaddaeus Ropac), references Jean-Auguste-Dominique Ingres’ ‘Mademoiselle Caroline Rivière’, the portrait of a 15-year-old girl who passed away soon after the completion
photo wallpaper.com

Knowing he had an upcoming stint as guest curator at the Louvre, Wilson chose themes from the museum’s collection, all dealing with death. ‘She’s sort of serious,’ he explained, ‘not your ordinary pop star.’ They shot the videos in a London studio over three days, Gaga standing for 14 or 15 hours at a time (when she wasn’t trussed like a chicken), blowing away the director with her stamina and emotional intelligence.

Watch the video portrait ‘Mademoiselle Caroline Rivière d’après Jean-Ausgust-Dominique Ingres’ (2013) to see Gaga capture the maiden’s dignified beauty. As with all of Wilson’s portraits, movements are extremely subtle. Gaga is almost completely still… until she shuts her eyes just before a minute in. Watch Carefully. Copyright RW Work Ltd. Courtesy of Galerie Thaddaeus Ropac Paris-Salzburg
photo wallpaper.com

One subject he selected was Andrea Solario’s 16th-century ‘Head of Saint John the Baptist on a Charger’. He filmed 11 views of the singer’s bearded face and superimposed them over the painted head of the martyr. ‘She would look at the image and after a while she would look at her face in a mirror and something happened, and I would shoot her,’ he said. Each portrait is unique – thanks to the size of the slash at her throat, her lips being parted or closed, her eyelids fluttering or her expression changing.

Wilson also honed in on Andrea Solario’s 16th-century ‘Head of Saint John the Baptist on a Charger’. He filmed 11 looped videos of the singer’s bearded face and superimposed them over the painted head of the martyr. Pictured is ‘Variations d’après la Tête de saint Jean-Baptiste de Solario 1 (D)’, 2013
photo wallpaper.com

A final portrait, ‘La Mort de Marat’, 2013, takes on ‘The Death of Marat’, a painting by Jacques-Louis David of the murdered French revolutionary leader Jean-Paul Marat lying dead in his bath
photo leparisien.fr

A larger-format video references Ingres’ ‘Mademoiselle Caroline Rivière’, the portrait of a 15-year-old girl who passed away soon after the completion. Gaga managed to capture both the maiden’s dignified beauty and the knowledge that she was about to die. ‘There’s a nobility to her,’ Wilson said of the Born This Way singer, ‘she’s a real princess.’

Robert Wilson editing his film sequences of Lady Gaga
photo wallpaper.com

via wallpaper.com

The post ROBERT WILSON: VIDEO PORTAITS OF LADY GAGA AT THADDAEUS ROPAC GALLERY appeared first on INHALE MAG.

Centros, live visuals by Iregular, Baillat Cardell & fils and Diagraf
photo thecreatorsproject.com

Most recently, the studio devised Centros, a huge installation that illuminated the Mutek Mexico stage on November 17 as a 15’x15’ wood grid of cascading RGB lights, hooked up a video-source that was manipulated in live time. From a viewers’ perspective, it was an ocular explosion of pretty bursts of neon that were in tune with the musical parade happening onstage on the second night, which included Actress and Mount Kimbie. Those who saw it latched onto its power. “We are in talks to take this project to other festivals early next year,” says Iregui, “someone even offered us to create a solo exhibition in Berlin with our interactive work.”

Centros, live visuals by Iregular, Baillat Cardell & fils and Diagraf
photo thecreatorsproject.com

This isn’t the first time that Iregular has screened the stage—they often showcase the same work around to different festivals, although for Control No Control, an interactive LED sculpture, “we have presented it many times allowing us to experiment and elaborate more on the graphics and audio,” explains Iregui. “Recently at Glow, in the Netherlands, we used an analog synthesizer for the audio instead of digital sounds. With this final touch the piece feels done—for now at least!”

Centros, live visuals by Iregular, Baillat Cardell & fils and Diagraf
photo thecreatorsproject.com

But the work is never done, as Iregui points out, “lately we have been asked to design scenographies.” Big word, but really the concept is rather visceral—literally. In turn, scenographies are merely structural objects that employ gear and lights to change an environment—a small deviation from Iregular’s desire to create installations that actively engage with the audience. “Our work is complete when someone is participating—without this our work is a projection or a sculpture,” Iregui contends, “so even though scenographies are not interacting with the audience, it is organic for us to create them. It involves structures, the influence of the piece on the space, creatively using gear and giving away the control.”

Centros, live visuals by Iregular, Baillat Cardell & fils and Diagraf
photo thecreatorsproject.com

And losing or containing control, after all, is key in the experience of so much of art and music. Hint: it’s not just the DJ or, um, the cerebral supplements. “Everyone has a unique path of exploration, a different memory and a different story to tell,” admits Iregui. Such insight is easily identified in the studio’s other projects, such as Wake Up, a vertical light sculpture that illuminated when a body’s presence is felt show at Montreal’s MLK50 memorial celebration of Martin Luther King Jr. in February 2013; or Waterfalls, which synced kinetic sculpture boxes of LED light and bells with fountain waterfalls outside Montreal’s Place Des Arts in October 2012 that were activated when passersby walked on the boxes’ pressure points. “Interactive installations disrupt people’s normal flow of through a public space, gallery or wherever,” muses Iregui, “they invite the audience to be active and not observers—and to give.”

Centros, live visuals by Iregular, Baillat Cardell & fils and Diagraf
photo thecreatorsproject.com

In an age where the threats of passivity haunt both the creator and the participant, Iregui thinks, “these days anyone can walk into the museums in the world and see works hanging on the walls, or watch a video of any existing performance. By including the audience in our work, we are opening a dialogue and allowing the audience to create and surprise us as well.” While community and “sharing is caring” mentality adopted by so many new media and technology-focused creators these days, it cares nary a surprise when Iregui shares the studios goal: “We dream to create an experience with an artist, Radiohead or Plastikman, where the hole show is generative and the 20,000 audience can have an input too.” But for now, Ireguar is “doing a lot of research with the kinect and depth cameras to create our next piece,” reveals Iregui. “We are also collaborating with Moment Factory in a couple of interactive installations.” Considering the latter studio last created with Jay-Z and Justin Timberlake, Iregui and the gang may just becoming to a mainstage near you.

CONTROL NO CONTROL – Igloofest 2012 from Iregular on Vimeo.

WAKE UP from Iregular on Vimeo.

via thecreatorsproject.com

The post IMMERSE INTO IREGULAR appeared first on INHALE MAG.

Starting with Jon Hopkins – Open Eye Signal – a story of a skateboarder’s ride, a beautiful video with great cinematography, directed by Aoife McArdle & production from Colonel Blimp.

Another storyline video from Arcade Fire – Afterlife – a touching story of a father and two sons lamenting the loss of their mother/wife. Directed by Emily Kai Bock

Then we have Rhye with Open – a love story video, a cute couple hanging out, having fun, a video with lots of feelings attached.

Making the list, a brand new Chase & Status video for Alive ft. hard vocals from Jacob Banks. The short film tells the story of a young indian boy who attempts to get back in touch with his roots after a tragedy, beautifully shot on The Blackfeet Indian Reservation, Montana, USA and working perfectly with the track.

On a happier note, Pharrell gives us Happy – a good times, dancing video, written and produced by himself. This is the official 4:07 mins cut, although Pharrell released the video in a 24 hour interactive online version, through his i am OTHER collective effort: iamOTHER

We continue with our favorite “wonder kid” Yoann Lemoine aka Woodkid, featured here with one of the videos from his trilogy – again, self-directed – I love you

Next, another black and white beauty, this time a dark & sensual R&B video about sexual control and romantic submission, from FKA Twigs – Papi Pacify self directed by Twigs & Tom Beard – NSFW

Jumping next to David Bowie’s Love is Lost music video – the Hello Steve Reich Mix by James Murphy for the DFA. A 10 minutes visual madness, mixing geometric 3D visuals with the distorted & glitchy film of a couple making out – NSFW

After a full week, this next music video feels just great – Chris Morphitis Where to Go – directed by Alice Dunseath & Annlin Chao & produced by Blinkink & The Royal College Of Art.

Chris Morphitis – Where To Go from Village Green on Vimeo.

I conclude this week’s selection with a Romanian video, from Robin and the Backstabbers, directed by Barna Nemethi & Vlad Fenesan of Griffon & Swans – SPNZRTR
Although the video was released in 2012, I think is one of the best Romanian videos of the last year or so and it deserves to be included on this list with some of the best international releases.

So, there you have it, these are this week’s video choices, enjoy and have a great weekend.

by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

The post SATURDAY VIDEOS 14th DECEMBER appeared first on INHALE MAG.

“Box” explores the synthesis of real and digital space through projection-mapping on moving surfaces. The short film documents a live performance, captured entirely in camera:

Balthazar Klarwein directed a beautiful glitchy video – “Others”, performed by Nimmo And The Gauntletts:

photo allthingsgomusic.com

Leslie Verbeeck directed “Apart” for Bering Strait – a melancholic video for a easy going dreameazy track:

Pablo Balderas delivered a “girls-on-the-road” video for Deap Vally – “Gonna Make My Own Money”:

photo vimeo.com

RY X directed his own indie video “Howling”:

Hiro Murai worked with Cults for “High Road”, a beautiful black & white video full of meaning:

photo consequenceofsound.net

Cults – High Road from Collin Doherty on Vimeo.

Myzyk & Moriceau of Division & Mathematic created a crazy NSFW animated video for Jackson and His Computerband – “G.I. Jane”:

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Hope you’ll like the selection, until next Friday…
by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

The post FOR A GREAT WEEKEND HERE ARE THE FRIDAY VIDEOS appeared first on INHALE MAG.

DJ Butcher’s collaboration with SOFLES — LIMITLESS for a graffiti/bombing extravaganza:

photo dashburst.com

Andrew Thomas Huang directed an amazing stop-motion-live-action video for Atoms For Peace “Before Your Very Eyes”, featuring Thom Yorke

photo spin.com

Aloe Blacc performing Love Is The Answer:

photo stupiddope.com

Lorin Askill directed a nightly street dancing video for Drop the Game, from Flume & Chet Faker’s collaborative Lockjaw EP, featuring dancer Storyboard P:

photo acidstag.com

Dan Hankinson’s video for Om Unit – The Road featuring Charlie Dark’s vocal poetry:

photo blog.lessthan3.com

Metronomy’s cover of “Hypnose”, Jean Michel Jarre’s classic ambient work:

Hope you’ll like the selection!

by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

The post MONDAY VIDEOS appeared first on INHALE MAG.

Post your answer in the comments here:

https://www.facebook.com/photo.php?fbid=394386877359555&set=a.302681423196768.1073741830.298628753602035&type=1&theater

The 30 comments that receive the most likes will win an invitation for two to Transformation Event by ABSOLUT – special guest: Woodkid.

Details here: 

https://www.facebook.com/events/623089691066047/

And we will try to give the 30 winning suggestions to Woodkid.

The contest is open until the 3rd of December, 7 pm.

The event takes place on the 5th of December 2013, starting with 9 pm at Romaero Baneasa, Bucharest.

The post WIN AN INVITATION TO “TRANSFORMATION EVENT BY ABSOLUT – SPECIAL GUEST: WOODKID” appeared first on INHALE MAG.

We’re talking about a new global campaign, Transform Today, which has in its center 4 international artists: Woodkid (artist, musician), Rafael Grampá (comic book artist), Aaron Koblin (digital media artist) and Yiqing Yin (sculptural couturier).

photo multivu.com

photo justluxe.com

Absolut is high class, yet approachable. Their ads have a touch of freshness, which is so good, since the audience has had enough of the “drink this” kind of advertising. Now the brand encouranges transformation and courage – if you will watch each story of the four artists, there is one common point to all, and that is the guts to follow a dream. Working for others is good in the beginning, but artists feel the need to really do their own projects. And it all starts today.

For Absolut it’s already a tradition to have the best commercials and to win more and more creative people on their side. How do they do it? It’s about the respect they show tradition but, at the same time, they show interest towards what’s on today in the arts.

These artists have a history of either pushing their limits, or pushing the limits of the domains they are active in. The campaign comes at a perfect moment for the brand: since Absolut is also more that just a beverage.

The post ABSOLUT – TRANSFORM TODAY appeared first on INHALE MAG.

“God Save the Queen” 1977. Sex Pistols
photo timeout.com

The Clash, album ‘Clash City Rocker’, 1978
photo timeout.com

Shining a light on the personalities and artists at the origins of the movement, such as the group Bazooka or Jamie Reid, the exhibition also brings together anonymous works collected throughout Europe. Through images and music, it bears witness to the unprecedented energy of this ambiguous, chaotic and radical revolution without a cause.

Punks rejected art but wanted to change the world with each of the images it created. The 500 or so objects presented here have not just been selected because they appeal or are of interest in the sole context of punk, but because they retain something of the urgency which ran through their creation – and thus a kind of beauty, however paradoxical it may be. By displaying the incredible quality and vitality of these alternative modes of artistic production, EUROPUNK seeks to underline how much the punk counterculture embodied the desire to wipe out the past and marked a deep cultural renewal.

‘Never Mind the Bollocks Here’s The Sex Pistols’, LP US, 1977
photo timeout.com

Fanzines, posters, flyers, leaflet, disc’s sleeve, clothes, more of 500 crafts show the amazing quality and vitality of this alternative artistic’s way of production. EUROPUNK want to underline how much the punk counterculture has succeed in embodying the will of erase the past but also an important cultural resurgence.

Fanzine Je-vous-emmerde n°1, Bruxelles 1977
photo timeout.com

Malcolm Garrett & Linder, Buzzcocks, pochette du disque ‘Orgasm Addict’ EP, 1977
photo timeout.com

Malcolm McLaren et Vivienne Westwood. T-shirt ‘Two Cowboys’ (collection Seditionaries), 1977
photo timeout.com

via citedelamusique.fr

The post EUROPUNK – EXHIBITION AT CITE DE LA MUSIQUE appeared first on INHALE MAG.

The black and white succession of images lasts 17 minutes and the film talks about the actual problems of the world, from the economic crises to hunger or homosexuality.
On why she chose a manifesto through art, Madonna states on her official website “My goal is to show by the example of secretprojectrevolution my creative commitment to inspire change in the world through artistic expression. I hope my film and other submissions to Art For Freedom will be a call-to-action and give people a place to voice their own creative expression to help fight oppression, intolerance and complacency.”

photo i2.cdnds.net

We can observe here an interesting term used by the 55 years old star, and that is “call-to-action”. Through this term we can deduce the artist’s will that the public would replicate this protest through art, given the art’s intrinsic purpose, which is to set free, to create a space where you can express freely your thoughts, your ideas or even the discontentment on the world, on life, on politics or economy, just like the genius Steven Klein underlines: “This film operates on many levels. It examines our private prisons. It questions what we do, how we do it, and how we treat others. It questions our governments, and our collective thought patterns. Think about it – the power of art can lead to peace.”

photo pagesix.com

This film is part of a larger project called “Art For Freedom” through which each person that wants to produce art in order to set simself free is invited to put on the www.artforfreedom.com platfomr which is for sharing. Once again, the site welcomes you with a call-to-action : “Madonna & Steven Klein invite you to start your own revolution of love. We have created this platform to give people around the world and opportunity to answer the question : <>”

photo we-are-awesome.com

Although very new, Artforfreedom.com has great success and each day users all over the world pos through the section “submit artwork”. I’ve tried it too, but I didn’t get to see it up, maybe tomorrow…
Back to secretprojectrevolution, I don’t think it’s a short film, because the 17 minutes are full with meaning, it’s filled with the experience of a modern history where cruelty is present and it is expressing the way nations think because of totalitarian leaders. Secretprojectrevolution it’s not about secrets, doesn’t encourage violence, but merely exposes real and actual problems, unstoppable due to some mentalities based on paradigms that have a basis on underdevelopped, barbarian and old axiom. Secretprojectrevolution encourages people to express through art, to freely let go your thoughts and to be less interested by what others say or think. Secretprojecrevolution enocurages you to be the way you want to be, not the way others want you to be, encourages a revolution of expressing love through art.

photo rickey.org

The world crisis and especially the economic crisis with which USA confronts and the recent outrageous anti-gay events in Russia probably made Madonna take action.

“History is repeating, you don’t see some patterns.” Madonna says. History has its own cycle, but the human mind is unstoppable and the spiritual evolution can change the history cycle. Through creativity we can beat the evil in the world and we can change the history.

photo blog.bittorrent.com

The star’s discourse is simple, with simple phrases with simple words, that anyone would understand, without metaphors, but very strong, addressed to any category of people, no matter the ethnic group, sex, sexual prefferences and so on. It is a discourse strategically wrote for any mentality, but having a generalized effect, of waking up from an ireal reality.

Talking about the artistic input of the film, Steven Kelin’s presence is nore than obvious from the first 10 seconds. His approach is generally black and white, as well as the S&M direction, while guns and bed are present in many of his works.

We look forward to Madonna’s revolution as we will keep an eye on the sharing platform created by Madonna and Steven Klein, which is www.artforfreedom.com

by Mike Scar

Mike Scar an urban teen blogger and creative dreamer, obsessed with cool stuff. He has plenty of creative thoughts and opinions concerning various topics that are waiting to be revealed. As far as concerns him, the term “cool” is a smogarboard of unconventional, sex, shocking, stylish and contemporary innovations.

Check his blog : www.room-services.com

The post MADONNA AND STEVEN KLEIN TEAM UP – SECRETPROJECTREVOLUTION appeared first on INHALE MAG.

Meanwhile, singer and lyricist Alex Turner has moved from syllable-stuffing chronicles of indie nightlife culture to songs that are sleeker, more blue-black, more self-lacerating. Thematically, AM centerpiece “No. 1 Party Anthem” comes off like a seedier take on Arctic Monkeys’ breakout track “I Bet You Look Good on the Dancefloor” as it tells of a collar-popped lothario on the prowl in a dank club made up of “lights on the floors and sweat on the walls, cages and poles.” But instead of blaring, this anthem is wistful, its piano, acoustic strums, and croons suggesting days gone by (along with 70s Elton John and Rod Stewart). Its swirling bridge sums up the scene in just a few choice phrases– “The look of love/ The rush of blood/ The ‘she’s with me’/ The Gallic shrug”– and sounds like a definitive endnote to Turner’s most notable songwriting style.

So AM goes beyond the sweaty clubs and furtive flirts into the hotel rooms, after parties, and bad decisions that can follow. The crux of the record is neatly summed up by the hook to the blistering “R U Mine?”: “R U mine tomorrow, or just mine tonight?”– an entire world of sex and love and desire distilled to quick-hit text-speak that Drake could appreciate. Turner isn’t sure of the answer to that question, and the resulting limbo does his head in all over the LP. He’s an avowed romantic living in an unromantic world, grasping for meaning in a city-to-city road-dog lifestyle hellbent on repelling it. In some ways, Turner’s struggle and his band’s recent gleaming transformation into something like rock gods is reminiscent of U2‘s turnaround circa Achtung Baby, when that quartet traded in deep virtuousness for sin, rhythm, and leather jackets.

photo weallwantsomeone.org

For Arctic Monkeys, loosening the tether to credulity can be freeing, allowing the band to live out their classic-rock dreams: T. Rex bop, Bee Gees backup vocals, Rolling Stones R&B, and Black Sabbath monster riffage are all rendered modern throughout AM with the help of longtime producer James Ford. And for Turner in particular, the switch has him connecting strings of desperate 3 a.m. thoughts: some horny, some bleary, some a bit frightening.

photo stereogum.com

Two of the album’s slinkiest and best tracks have Turner sounding slyly wolfish, like a perplexed predator confusing lust and longing. “I dreamt about you nearly every night this week,” he purrs on opener “Do I Wanna Know?”, which slowly rolls forward thanks to guitarist Jamie Cook’s lizard-brain riff and drummer Matt Helders’ Queen-sized beat; “Knee Socks”, meanwhile, tells of a wintertime tryst that climaxes with an operatic guest vocal fromQueens of the Stone Age‘s Josh Homme, who could’ve used some of AM‘s groove on this year’s lumbering … Like Clockwork. Whereas 2009′s Homme-produced Humbug had the Arctic Monkeys trying on QOTSA’s heaviness with varied success, AM integrates its influences more fully– and, at times, even beats Homme at his own snake-rock game.

The only solace found on this paranoid and haunted album is within its eclectic music, as well as the idea of music itself. “Mad Sounds” is AM‘s most hopeful song, an achingly sincere ballad that employs melody, swing, and “oh la la las” to attest to the power of melody, swing, and “oh la la las.” It teases out the purest interpretation of the Rorschach-like sine waves that adorn AM‘s cover, which– depending on your vantage, or mood– could also read as leering sunglasses or maybe a bikini top. Creeping closer “I Wanna Be Yours” combines all three meanings while seemingly answering the question posed by opener “Do I Wanna Know?” That is: When faced with the choice between easy pleasures and lasting devotion, Turner is picking the latter. Sweet, right? But upon further inspection, it’s not so simple. “I Wanna Be Yours” features lyrics by UK punk poet John Cooper Clarke from his 1982 track of the same name, which uses the language of commercialism to express the deepest love. “I wanna be your vacuum cleaner, breathing in your dust,” sings Turner as a lonely drum machine highlights the sentiment’s emptiness. Still, the song doesn’t sound cynical. It’s genuinely affecting. The ultimate message– will future generations have the capacity to love people as much as their cars, their coffee pots, their phones?– rings terrifyingly true in our time of personal branding. Arctic Monkeys let these thoughts languish. “Maybe I just wanna be yours,” Turner sings. Maybe not.

via pitckfork.com

The post ARCTIC MONKEYS – AM ALBUM appeared first on INHALE MAG.

Photo by Jimmy King

Joining Bowie are Laura Marling, Foals, Disclosure, James Blake, Rudimental, Jake Bugg,Laura Mvula, Villagers, Jon Hopkins and Savages. But British odds maker William Hill are calling Bowie and Arctic Monkeys 4 to 1 favorites to walk away with the top prize.

According to the Mercury Prize website, the prize for Best Album is given each year “solely to champion music in the UK.” Past winners include Portishead, for their album, “Dummy,” PJ Harvey, a two-time winner for “Stories From the City, Stories From the Sea” and “Let England Shake,” and Arctic Monkeys, who took the prize in 2006 for “Whatever People Say I Am, That’s What I’m Not.”

Released in March, Bowie’s 25th album, “The Next Day,” received stellar reviews, with Rolling Stone calling it “a triumphant album.” It represents a comeback for the beloved artist who, in 2004, suffered a heart attack. At the time, many believed the previous year’s “Reality” would be his last record.

“This year’s Barclaycard Mercury Prize shortlist celebrates a fascinating year for British and Irish music marked by a wonderful range of musical voices – urgent, reflective, upbeat and tender, acoustic and electronic, and all with something intriguing to say,” judging panel chair Simon Firth told Ireland’s Independent.

The winner will be announced October 30 during a ceremony at the Roundhouse in London.

JAMES BLAKE. PHOTO COURTESY OF UNIVERSAL REPUBLIC RECORDS

Arctic Monkeys photographed by Dean Chalkley

Photo: Courtesy of Savages via Vogue.com

John Hopkins, via pluserardio.com

-via blouinartinfo.com

The post THE MERCURY PRIZE NOMINEES OF 2013 appeared first on INHALE MAG.

Her debut album, Pure Heroine, will be released by Lava/Republic Records on September 30, and Lorde promises the new tracks are “a step forward from the stuff that’s out.” If the splash made by her EP is an indication of her potential, is she prepared for the oncoming tidal wave of attention? Typically, the teenager doesn’t seem phased. “Fame is really weird,” she says. “But I’m rolling with it.”

Photo: James K. Lowe

www.prettymuchamazing.com

www.vh1.com

According to an article posted on VH1.com, Lordes is going to be huge:

“The crowd that assembled at Le Poisson Rouge, NYC,  last night (August 6th) was a strange mix of girls in their late teens wearing flower crowns, mainstream couples in their mid-20s, excited pop enthusiasts, corporate bros, and chic SoHo gals (and a few middle aged men who were probably from the record company). The crowd was also undoubtedly enthusiastic about Lorde. Everyone seemed to know all the words to all of her already released songs–and enthusiastically listened to her new cuts.

A lot of up-and-coming pop stars have an early and ardent fanbase, but Lorde’s seems to already cut through a variety of demographics that don’t usually go out for pop music, which means there’s a bigger chance that her debut album will strike a more universal chord.

The one fault in her set seemed to be that she left the audience wanting more. People applauded for a few minutes, waiting for an encore that didn’t come. There was marked disappointment from the guys around me.

“Well, I guess that’s it,” one young man in a crisp gingham shirt said to his friends.

“She doesn’t have any more songs,” his friend replied.

“Nah,” said the young man. “It’s past her curfew.”

-via vogue.com & vh1.com

The post SHE LIVES UP TO THE HYPE: LORDE appeared first on INHALE MAG.

She She Pop- “Schubladen”

She She Pop is a Berlin based performance group, formed mainly by female members: Sebastian Bark, Johanna Freiburg, Fanni Halmburger, Lisa Lucassen, Mieke Matzke, Ilia Papatheodorou and Berit Stumpf .

“Schubladen” – is a meeting between former East and West german female residents, confrontating each other, their lives, their education and the society they were brought up. Biographical elements are inserted in the collective history of the last 40 years.

“Schubladen” is a performative encounter of different destinies, all being presented, compared and opposed on stage. There is no good or bad, no right or wrong. Events are regarded with humour and intelligence.

The show is structured as a repetition of confrontations. Sitting face to face, two by two, the 6 participants explore their pasts and bring a personal interpretation to the known historical facts, a catwalk of imagined and reimagined clichés that people have about each other. The conclusion: creating a dialog between opposite sites. Does it work? Can we change who we are if we cannot change the past? Is the past totally defining our lives? The question is to be answered by our personal choises.

Read more on She She Pop’s site: http://www.sheshepop.de/en/productions/schubladen.html

Foto: Katrin Ribbe

www.sheshepop.de

www.sheshepop.de

Mette Edvardsen

“Time has fallen asleep in the afternoon sunshine”

The Royal Library of Belgium has hosted the utopia described by Ray Bradbury in Fahrenheit 451. In a future far far away all the books are burnt and the only way to support knowledge is by becoming yourself a book. So why not try it out before the disappearance of books?! Following Mette Edvardson’s concept, a group of artists from all over the world, have started to learn books by hard and to become the book they love. There are already 30 live books(in German, English, Spanish, Arabic, Norwegian, Greek, Dutch), one of them I met this year in Brussels.

photo bellyflopmag.com

He was Fear and Loathing in Las Vegas. He took me somewhere in one of the library’s archive and started talking. It was a weird feeling, the book was not an object anymore but a person. The book was embodied by this middle aged man who had no biography for me. He became the story; without trying to add extra feelings to what he was saying or to set a scenery or to make it theatrical. No, it was just the two of us and the story, and the words, the language, the texture of fiction.

More about the project and about the coregrapher and performer Mette Edvardsen: http://www.metteedvardsen.be/projects/thfaitas.html

by Alexandra Pâzgu

Alexandra Pâzgu is an artistic researcher and practitioner, interested in contemporary dramaturgical dynamics. Currently enrolled in an artistic based Ph.D.  at UBB Cluj, with a proposal that links dramaturgy to conceptual art.

http://flavors.me/alexandra_pazgu

The post KUNSTENFESTIVALDESARTS 2013 UNDER THE SIGN OF PUBLIC DEBATE – A VIEWER’S DIARY – PART 2 appeared first on INHALE MAG.

photo thestayclub.com

Amongst other things, Nextwave shares that jumbled sense of purpose with its predecessor. On Four, Bloc Party returned after a contentious four-year break with conflicting agendas: it was a record that went to great lengths to prove it was effortless, an attempt to convey vigor by rehashing their old sound. By default, Nextwave is less scattered and more consistent: It’s only five songs. But “Ratchet” indicates that Bloc Party could’ve gone way further off the grid if they gave themselves enough time.

There’s a perverse thrill in hearing what is almost certainly the worst song Bloc Party could write and still be proud enough to include on a commercially available recording. It’s easy to see how “Ratchet” appeals to Bloc Party– honed throughout their Four tour as a future fan favorite, you can imagine how leading an arena in a chant of “we go ratchet!” could be cathartic or at least a nice change of pace for a band with a deadly serious reputation. Of course, you might also be of the perfectly reasonable belief that it’s a fool’s errand for any rock band, let alone Bloc Party, to employ “ratchet” in its adjective form in 2013 without embarrassing themselves. If so, you’ll hear it no differently than the times when a rock band does a straight hip-hop cover with the best intentions and the worst execution even if Okereke’s ill bars about sour diesel and keepin’ it one hundred are his own.

“Obscene” is the other track Bloc Party recorded with producer Dan Carey and it forgoes the uplift mofo party plan of “Ratchet” to apply the slinky, synth-pop sheen he lent to Bat For Lashes and Chairlift last year. Since A Weekend In The City, Bloc Party’s best songs have been ballads. This can seem counterintuitive– Okereke’s voice isn’t particularly supple or suited to melody and restricting their lively rhythm section to electronics can feel like a misallocation of resources. But Okereke’s voice lends itself well to vulnerability, of trying to sing “pretty” when he doesn’t really have the physical capabilities for it. Likewise, there are only so many barbed riffs and jagged rhythms in Bloc Party’s repertory as a standard rock band, so experimenting with the production and textural qualities of R&B and hip-hop rather than the slang has proven wise.

All Bloc Party albums have at least two softbatch keepers, and the nice thing about Nextwave is that they’re easier to find. In addition to “Obscene, “Montreal” sounds like the comprehensive Bloc Party, tying in the storytelling lyricism of A Weekend In The City with the electronic, club-minded aesthetic of Intimacy and their remix albums, while guitarist Russell Lissack edges beyond his typical Edge atmospherics and post-punk downstrokes into chorused Police riffs. Elsewhere, “French Exit” is the same ol’ angular Bloc Party growing soft around the edges while the messianic streak in “Children of the Future” has a clumsy charm but not much else.

It does serve as a curious closer since Bloc Party introduced themselves as a band with a savior complex and has evolved into a more humane, fan-focused and knowable act, a cult affair on a mass level. Silent Alarm dealt in absolutes and theoreticals– the songs were either burners or ballads, Okereke in Code Red or a deep blue. Nextwave Sessions continues in the vein of Intimacy and Four in being the work of band that will make tracks using hip-hop vernacular if they feel like it, admit to being exhausted and test out hot producers without committing to an entire album, to make good on Okereke’s wish from “I Still Remember” to make more mistakes. All the same, praising Nextwave Sessions for being “interesting” feels like a cop out– Silent Alarm and even A Weekend In The City gave the listener as much to enjoy as it did to consider, but Bloc Party’s output since then has made it feel like those two qualities are mutually exclusive.

photo rock.rapgenius.com

via pitchfork.com

The post THE NEXTWAVE SESSIONS – THE NEXT LEVEL FOR BLOC PARTY? appeared first on INHALE MAG.

1) Beastie Boys

At the beginning, these guys were more into punk, but it was Rubin who tried to get them mix that with rap. He was in a continuos research for bands, for styles, for mixtures of different music levels. And Beastie Boys had now their own personal touch, that was never on the scene before. And that’ how you create mainstream music.

photo hiphopwired.com

2) Johnny Cash

Apparently, at the beginning of the 90s, his career was not working so well. For Rubin this was almost like a bet: how can you revive such a great legend, how can you integrate his music on the market? The common ground in all of Rubin’s projects its the continuos quest for success and the record-selling. This might be ultimately the best proof, right? And the album American Recordings sold so well, that they decided to continue to work together, as a team, for the next five albums. That’s quite a commitment, right?

photo wallpoper.com

3) Adele

This is probably a moment where you could have seen his face, since he won a Grammy Award for best album of the year. He closely worked with Adele, and the result was an album that was sold all over the world. I imagine you’d want to stick to that producer whose interest in the mainstream and in bringing to light bands and singers.

photo bigfm-saarland.de

4) Kanye West

The producer claims in interviews that West came in a hurry, stating that there are only 5 weeks left until the disc should be launched on the market. And apparently it was so far from being final, that they had to lock in the studio and to shape the album to what it is today. Like I said, Rubin likes to make artists cross borders, and this is maybe one of the reasons why Yeezus is so controversial, since it’s not what the public was used to.

photo urbanislandz.com

The post THE MAN BEHIND THE MUSIC – RICK RUBIN appeared first on INHALE MAG.

The piece will be at Sonos Studio in LA from July 25th to Agust 25th. The Crystal Method will perform in the installation at the opening, followed by performances by Washed out and Bleached throughout the month

photo designboom.com

photo designboom.com

photo designboom.com

photo designboom.com

via softlabnyc.com

The post SOUND INSTALLATION BY SOFTLAB appeared first on INHALE MAG.

Gaga Pays Tribute to Andy Warhol as “Candy Warhol”
Though Lady Gaga has not actually worked together with the late Andy Warhol, she has credited the King of Pop Art as a driving force behind many of her theatrics, even making her own video tribute to Warhol a few years ago. The pop singer also modeled her her own creative team, Haus of Gaga, after Warhol’s Factory.

The HAUS OF GAGA, the superstar’s personal creative team, has also coordinated an ‘Art Rave’ event prior to the album/app’s November 11 release, featuring collaborative works with the likes of Jeff Koons,Inez & Vinoodh, Marina Abramovic and Robert Wilson.

or the launch of her fragrance Fame, Lady Gaga crept into an egg-like structure in the Guggenheim and fell asleep. Fashion, art, and film celebrities looked on and also reached into an opening in the egg to touch the sleeping beauty. After she woke up from the first half of the performance piece, she invited tattoo artist Mark Mahoney inside the egg. Mahoney proceeded to tattoo Gaga’s neck in front of the onlookers. Of course Gaga doesn’t sleep like anyone else.

Could these collaborations be anything like the one Jay Z did with Marina Abramovic at Pace Gallery in New York? Could the app be anything like Bjork’s Biophilia app from October 2011, corresponding with the release of her album at the time? Perhaps, but regardless, Gaga has repeatedly stated that she’s an artist first and previously collaborated with visual artists like Nick Knight, Steven Klein, and Terence Koh. Photography duo Inez & Vinoodh also directed her “You and I” series of fashion films and photographed her for V Magazine.

Cover | Lady Gaga by Inez & Vinoodh for V Magazine #71

Cover | Lady Gaga by Inez & Vinoodh for V Magazine #71

Photography and Film Collaborations With Inez and Vinoodh

American artist Jeff Koons poses next to his artwork “Michael Jackson and Bubbles” (1988) in the Fondation Beyeler
in Riehen, Switzerland.Photo creativeboysclub.com

The Life and Death of Marina Abramovic- Luminato Festival 2013, Pgoto credits: Lucie Jansch

The Life and Death of Marina Abramovic- Luminato Festival 2013, Pgoto credits: Lucie Jansch

The Life and Death of Marina Abramovic- Luminato Festival 2013, Pgoto credits: Lucie Jansch

While we are looking forward to whatever Lady Gaga has in store individually or collectively with these artists, we are also welcoming a moment where musicians are placing their work in the realm of performance art. For both Jay-Z and Gaga, much remains to be seen, but what we do know is that the next few months will be full of art, pop, performance, and big collaborations between the art and music worlds.

-via hypebeast.com & complex.com

The post JEFF KOONS, MARINA ABRAMOVIC & ROBERT WILSON GO GAGA appeared first on INHALE MAG.

So, yesterday you read just a glimpse about this guy, Nick Knight. He might not be a name on everyone’s lips, but, in fact, he is now becoming more and more visible, due to the artists he is working with. Let’s look back and see who he worked with the whole time. Amazingly, you’ll see that you already knew some of his works, maybe you wanted to check the-director-of-that-video and the photographer-of-that-crazy-photo-shoot. Here they are, lying there, just waiting to be read:

1. Nick Knight and Gareth Pugh – magnitude 5 

In 2008 the two collaborated on a project called Insensate.

There are artists that know exactly what they want to do and whose direction is well established- once you see one of their works you recognize it as being theirs.

photo dazeddigital.com

But then there are those artists who are constantly changing, adapting to a context or creating a special context for their own creativity. Indeed, Knight seems as if he is boundless when it comes to thinking fashion photography.

Gareth Pugh A/W 2008- Insensate film

2. Nick Knight and Yohji Yamamoto – magnitude 7 

The Yohji Yamamoto catalogues made by Marc Astoli, Nick Knight and Peter Saville between 1986 and 1988 were creating a new dimension to fashion.

So, a long time ago, when these names did not immediately open doors, the two artists collaborated on a project. Also, this area became more and more visible and he gave it a new direction, where it was see more as art.

I don’t know about you, but whenever I happen to find such proofs of influencers that worked long before together, it makes me think that eventually all important people meet to create together. Also, it gives me a sense of how much time and energy they’ve invested in something they believed in. In 1986 and 1988 they were already doing what they wanted to do and what they do still the present day, only that they didn’t yet get there. How many of you were born between these years? Yeah, see what I mean? That’s a whole lifetime.

Yohji Yamamoto Catalogue, Pour Homme 1987/88
photo a modernmatter.com

photo mariankihogo.com

photo reelfoto.blogspot.com

photo hmslatex.tumblr.com

3. Nick Knight and Björk - magnitude 6 

How I feel about this collaboration? You know when you have two great friends, that don’t yet know each other? But you start thinking that they should meet, since they are both imaginative, determined and very self-aware of what they can do. Then you start think what if they met? And you are so excited about it and hope they would get together well. An when they do- Bam! Fireworks! Everything works. I don’t know how they came to work together, maybe they liked each other’s work and said it was time they did something together. Anyhow, the beautifully video became instantly a buzz in the art scene.

photo kosmiche.wordpress.com

4. Nick Knight and Lady Gaga – magnitude 5 

As much as she is blamed, she is admired. Lady Gaga is truly interested in working with artists that are very good on their specific area. Behind her image there are so many talented persons and it is so good to see that emerging artists grow in visibility due to their common projects. And keeping an eye on the art scene is something that Lady Gaga does. We’ll talk more about that in another article. For now, here is what Nick Knight did with her:

photo fernandoirigoyen.com

photo fanpop.com

So, which collaboration did you like best?

The post INFLUENCERS : NICK KNIGHT appeared first on INHALE MAG.

Now fans can catch the version West intended for them to see, which includes an animated avatar of the rapper.

“Allow me and Nick to give the world what we’ve been losing sleep over,” he wrote.

photo mashable.com

The emcee himself — or a retro, motion-capture animated version of himself, rather — is shown shirtless throughout the video, shrouded in darkness, with a glistening chain around his neck and what could perhaps be flashes of unseen paparazzi providing the only sources of light. Here are some snapshots:

photo mashable.com

photo mashable.com

The “BLKKK SKKKN HEAD” video was directed by Nick Knight, in collaboration with West’s creative house, DONDA. The screenshots from the video can be synched, posted and shared across all online and mobile social platforms.

Knight and West have teamed up for much of Yeezus‘ imagery, including the “guerrilla”outdoor projections of New Slaves.

Here is what Knight did for W Magazine:

photo wmagazine.com

photo wmagazine.com

If you’re curious about the video, here it is:http://www.kanyewest.com

via mashable.com and nydailynews.com

The post NICK KNIGHT AND BLKKK SKKKN HEAD appeared first on INHALE MAG.

Album cover shoot for Aladdin Sane, 1973
photo vam.ac.uk

The V&A’s Theatre and Performance curators, Victoria Broackes and Geoffrey Marsh have selected more than 300 objects that will be brought together for the very first time. They include handwritten lyrics, original costumes, fashion, photography, film, music videos, set designs, Bowie’s own instruments and album artwork.

Striped bodysuit for Aladdin Sane tour 1973
Design by Kansai Yamamoto
photo vam.ac.uk

The exhibition will explore the broad range of Bowie’s collaborations with artists and designers in the fields of fashion, sound, graphics, theatre, art and film. On display will be more than 300 objects including Ziggy Stardust bodysuits (1972) designed by Freddie Burretti, photography by Brian Duffy; album sleeve artwork by Guy Peellaert and Edward Bell; visual excerpts from films and live performances including The Man Who Fell to Earth, music videos such as Boys Keep Swinging and set designs created for the Diamond Dogs tour (1974). Alongside these will be more personal items such as never-before-seen storyboards, handwritten set lists and lyrics as well as some of Bowie’s own sketches, musical scores and diary entries, revealing the evolution of his creative ideas.

Promotional shoot for The Kon-rads
1963
photo vam.ac.uk

David Bowie and William Burroughs
1974
photo vam.ac.uk

Original photography for the Earthling album cover, 1997
Union Jack coat designed by Alexander McQueen in collaboration with David Bowie
photo vam.ac.uk

Self portrait in pose also adopted for the album cover of ‘Heroes’
1978
photo vam.ac.uk

via vam.ac.uk

The post AT VICTORIA AND ALBERT MUSEUM: DAVID BOWIE IS appeared first on INHALE MAG.

 Music connoisseurs call it London’s ultimate record collector’s paradise, and, to many local music-addicts, it is like a second home where they can unashamedly share in their love of music with the family of experts behind the counter. Honest Jon’s originally opened in 1974 on Golborne Road in London’s Ladbroke Grove, moving around the corner five years later onto the famous Portobello Road, where it has built up a reputation over the years as a stomping ground for record collectors, music lovers, producers, and musicians from all around the world. The Clash caught the reggae and dub virus at Honest Jon’s. James Lavelle, founder of the legendary record label Mo’Wax, used to work here as a clerk before he rose to notoriety. Damon Albarn, singer from Blur, and co-creator of eclectic pop project Gorillaz, has long been a regular at Honest Jon’s too, but not only as a customer. Together with storeowners Mark Ainley and Alan Scholefield, Albarn has been involved with Honest Jon’s record label since 2001. The label is a kind of musical mirror of all those sounds that have always been available at the shop. In a “blinkers-off” approach, their release list covers lost Reggae, old and new Afro, variations of Jazz, Calypso, and Folk that have long been forgotten by popular culture, as well as contemporary Folk, dance, and the new electronic avant-garde. Moreover, every release is more than just your typical music product. Elaborately illustrated booklets and brilliantly researched liner notes provide information reaching far beyond the music and give substantial information about the various musical cultures all around the world. Obscure recordings from the dawn of the gramophone era more than a hundred years ago, alongside illustrious veterans like Cedric Brooks, Candi Staton and Lord Kitchener, and contemporary artists like Actress, the Hypnotic Brass Band, T++, and Morphosis are a testament to the fact that Honest Jon’s understanding of sound has more than one focus. For Carhartt Radio, Honest Jon’s co-owner Alan Scholefield selected some music from this profuse catalogue, which staffer Budgie then mixed into a special multidimensional narrative, in which every track tells a story of its own, spanning a time period from the fifties to the present. To take a look behind the scenes of one of London’s oldest record stores, and its internationally celebrated music label, we talk to Alan Scholefield and Mark Ainley about their first days at Honest Jon’s, some funny stories while digging for records, and more.

www.carhartt-wip.com

www.icrates.org

NORMAN JAY HONEST JONES
clashmusic.com

www.gq-magazine.co.uk

See the interview here: http://www.carhartt-wip.com/music/music/2013/07/artist-feature-honest-jons

- via carhartt-wip.com

The post MUSIC by THE HONEST JOE’S appeared first on INHALE MAG.

Want to join Inhale Mag? Become a contributor. Our call is now open. We are waiting for articles on the local art scene in your city. We have no country limit, no age limit, no subject limit: we are ready to Inhale.

Join the Inhale community!

Contact us at air@inhalemag.com.

Inhalemag.com

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Each verse/chorus/bridge/​intro melody, each lyric straight or knotty, each sound effect playful or perverse (or both)‑-each is pleasurable in itself and aptly situated in the sturdy songs and tracks, so that the whole signifies without a hint of concept.

And crucially, the boy-to-man themes you’d figure come with several twists I’ve noticed so far and more no doubt to come. One is simply a right-on credo: “Age is an honor‑-it’s still not the truth.” Another is how much time Ezra Koenig spends wrestling a Jahweh-like hard case.

photo vampireweekend.com

The Big Guy comes out on the short end of a fight song called “Unbelievers,” and a DJ “spinning `Israelites’ into `Nineteenth Nervous Breakdown’” gives Him a nasty turn. But Koenig claims no permanent victory. Too smart. Too much a man, too.

A PLUS

photo thisisspectrum.blogspot.com

via social.entertainment.msn.com

The post VAMPIRE WEEKEND – THE MUCH AWAITED ALBUM appeared first on INHALE MAG.

Is Tropical
photo Paul Dunca

Perhaps it’s more fitting to first describe how the band presents itself. Signed with Kitsune (Yelle, Pheonix, Klaxons), there is an obvious blurring between the music and the image that is implicit with Is Tropical and is in line with the French label’s business model. With scarves and fake bears over their faces, un-google-able signs on their website and very bold music videos, they’ve managed to create an aura of mystery around them that has worked so well for other bands in attracting the gem-seeking carnivores of the blogosphere. Wikipedia tells us they have ten million hits on Chinese YouTube, which is what perhaps inspired them to be ‘the first western band to tour Mongolia’. A less than impressive feat, but it goes along with the type of non-linear path to fame they are trying (so hard) to take.

photo kitsune.fr

As such, the London trio has been riding the synth gravy train since 2011, with two albums and a lot of good PR behind them. I think I started listening to them during the summer and believed it was circumstantial that I ended up liking them. If you hear a song enough times, you’ll find something you like about it(the basic premise of pop music producers I guess). Tracks like Greeks or Seasick Mutiny were catchy on Native To, their first album, and had enough guitar riffs through their songs for me not to dismiss them wholly. Their new album sounds like the band is moving towards a classic instrumental sound, with more work being put on a heavy bass line and indie guitar that references Joy Division rather than New Order. Coupled with clear attempts to create genuine crowd pleasers, I’m Leaving was a welcomed return and got me in the mood to see them live.

photo runderground.ru

The venue was a gallery somewhere around Hoxton. It stood out as the event of the evening, with a huge density of accessories per square foot, but it was nothing too glamorous (in the industrial sense of the word) and was packed and dark enough to get lost in the crowd. After getting a free Jager shot from the Rastafarian bartender for pointing out the fact that they did indeed have the beverage, I felt the night was going well and was getting anxious about seeing the band. Soon enough, they entered the stage unceremoniously, leather jackets and long sleazy hair abound and opened with Lover’s Cave. This first song on the album sets the tone well, with an inviting chorus, drowned by jumpy synth and high-pitch guitar. The pace was great and the drums were resonating throughout the crowd and already, three minutes in, you could tell they’ve moved their focus from the dance floor to the concert halls.The key moment was the onstage appearance of the female voice from their new single, Dancing Anymore, arguably their best song yet.

http://vimeo.com/64378881

Barely distinguishable from the lads, she gave the act the sort of warm vocals and raw appeal that made me realize, all of a sudden, that I was in fact at a rock’n’roll concert. Drunk and rarely hitting their cues, the band proceeded to stumble through much of their new songs, as well as some older classics like Greeks or Lies. What made the concert great however was not the music per se, but the type of band and brand of music they were personifying. As they insistently and unimaginatively repeated that everyone needs to get fucked up, you slowly startedto believe them. And perhaps that’s the point that I was missing for such a long time.

The Greek clip:

‘I don’t wanna leave the party, oh nooo’, went one of Is Tropical’s last songs.  Although I will always prefer a British stadium to a scruffy post-industrial gallery space, I’m more and more disappointed with the bands I ceremoniously follow. As for the new ones, I hate Jake Bugg and don’t really get the hype. Perhaps it’s in this niche where artists that can still capture my imagination reside, or maybe I was fooled by some gimmick thought of by a French producer.

In any case, I was dancing all night.

photo theupcoming.co.uk

By Paul Dunca

Paul Dunca is a freelance saboteur looking for a change of pace. He writes reviews and opinion pieces to keep appearances and can be reached at various wishing wells around London.

The post IS TROPICAL – OR HOW I STOPPED WORRYING AND LOVE SYNTH appeared first on INHALE MAG.

His performances cross the limits of art and science, and it’s difficult (and useless) to try to put him in a box with a label. What is sure is that his performances and installations are immersive.

Rhythm is very important for Ikeda, and his pieces are highly linked to his way of creating a space with sounds. Many of his works start in a minimal direction which gives the viewer a sense of calm while watching them, but after that the rhythm is broke and the pattern changes. And what is more alarming than this sense of peace that is destroyed in order to put up a new zone?

photo thethirdvoid.com

For the Auckland Triennial he prepared two works that are on display in the city until the 11th of August 2013.

MAY 9 – AUG 11, 2013
commissioned by The 5th Auckland Triennial, NZ
photo ryojiikeda.com

Ryoji Ikeda creates a sensorial experience, mixing mathematics with images. It’s inevitable to think about mathematics when seeing his installations. Superposition, one of his famous projects, mixes science and art. He uses the principle of superposition. This principle works “for all linear systems, the net response at a given place and time caused by two or more stimuli is the sum of the responses which would have been caused by each stimulus individually.”

As he states, “superposition is a project about the way we understand the reality of nature on an atomic scale and is inspired by the mathematical notions of quantum mechanics. Performers will appear in his piece for the first time, performing as operator/conductor/observer/examiners. All the components on stage will be in a state of superposition; sound, visuals, physical phenomena, mathematical concepts, human behaviour and randomness – these will be constantly orchestrated and de-orchestrated simultaneously in a single performance piece.”

His works are exhibited in museums like Barbican, STRP Biennial in Eindhoven, the Perimeter Institute for Theoreical Physics, Waterloo, CA, ZKM | Media Museum, but he is also present in festivals like Sound of Stockholm or Sonar.

http://youtu.be/QHUWvvYDb4c

On his his album +/- Ikeda says “a high frequency sound is used that the listener becomes aware of only upon its disappearance” In fact, he uses sounds that are, sometimes, hardly bearable for the human ear. Is it the space itself? Is it the DNA code? Is it quantum physics? What are the visuals accompanying the music?

If you look closer at this clip below, you can see at one moment a simple phrase that can characterize very well his music: “The most beautiful ugly sound in the world”.

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Released in April 2013, the album was supported with a series of concert appearances including a performance at Coachella and having guest features by electronic genius producer Brian Eno and even surprisingly rapper/producer The RZA from the Wu-Tang Clan. It received widespread critical acclaim upon release.

Bigger in scale, expanding his musical vision and building tension, this new effort spins towards being almost like a cinematic experience, using a discrete orchestration as a backdrop – leaving his newly confident, expressive and crystalline vocals to shine.

James is still stretching and he keeps experimenting, overgrowing a musical past of downbeat R&B and dubstep tunes in just 2 years from his debut album (and related EPs – Enough Thunder; Love What Happened Here), into “melodic bass music” as he describes it – becoming a songwriter and producer confident enough to wander into new music territory without losing his own unique elegant electronic arrangements and melancholic, seducing sound style in the process.

Blake released recently also a video for the title track -  [overgrown], directed by none other than Nabil:

-

Nabil worked with artists from Kanye West, to Frank Ocean, the Weeknd, Antony and the Johnsons, and Foals to Bon Iver:

A nightly journey, reverse time passing by, forest of discovery and sea of longing for lost [love], the video explores the delicate inner workings of James’ emotional core.

“Best new track” on Pitchfork, can be the best dark romance soundtrack for a moody afternoon or, even better, for nocturnal listening, to keep things in perspective.

James Blake
photo blog.kexp.org

Links:

http://jamesblakemusic.com/

by Dragos Gavrila

Dragoș Gavrilă is a Freelance Designer. Specializing in Graphic & Interactive Design, Typography, Illustration & Graphic Art. Also an online curator of image and music, cultural informer, occasional writer, lover. Currently living, working & playing in Bucharest, RO.

More http://grafician.launchnext.com/

The post JAMES BLAKE [OVERGROWN] appeared first on INHALE MAG.

http://youtu.be/pZeRPB5V-44
The music comprising Screenplay is mostly taken from Parish’s contributions to the films of Belgian director Patrice Toye (whose 1998 film, Rose, served as Parish’s first foray into motion picture scoring), the French-Swiss filmmaker Ursula Meier, and French screenwriter/director Sébastien Lifshitz, among others. IMDb summaries and illustrative song titles reveal that the first several score snippets on Screenplay are from Toye’s latest film, 2012’s Little Black Spiders. These selections reveal that Parish is becoming more adept at film scoring, as they are some of the album’s strongest showings.

Slight Francophilic touches are discerned here and there, yet the pieces never lose sight of Parish’s guitar signatures; his playing on Katja Gives Birth sears like the surface of the sun. Screenplay sometimes makes it a joy to imagine Parish’s sometimes Beefheartian flourishes on songs like L’enfant D’en Haut worm their way into an Oscar shortlisted film like Meier’s Sister. Other tricks, like the treated wine glass samples in Les Billet, show that Parish’s creativity hasn’t been stifled by the sometimes constrained genre of soundtrack work.

photo thefourohfive.com

It helps that the other instrumentalists Parish has worked with on these scores are regular collaborators of his and musical kindred spirit, PJ Harvey, such as drummer Jean Marc Butty and guitarist Jeremy Hogg. Much like his work with Harvey, Parish’s film work reveals him as an able collaborator when working with strong women. That Screenplay regularly features work inspired by films of female directors is a blessing, as are the guest female vocalists who appear on a few tracks. Tammy Payne of Jukes contributes some nice airy singing to The Girls Rehearse, while Spanish singer Maika Makovski is a little looser on The Minotaur (Pt. 2).

Here is the album preview:
https://soundcloud.com/experimedia/john-parish-screenplay-album
The only Parish-sung song, A Glass of Wine, comes at the end of the album, and, while not a highlight, it is still strong enough to be worthy of assuming its place as a lighter cut on one of Parish’s proper solo releases. Given that so many indie artists have compiled their adventures in film scoring in recent years, it might be tempting to charge Screenplay of following in the footsteps of something like Mick Harvey’s Motion Picture Music or Tinderstick’s massive compilation, Claire Denis Film Scores. But just as these stand alongside the artists’ regular output, so does Screenplay stand among Parish’s own understated albums. That a band like Mogwai can score a series without having seen it (on this year’s Les Revenants) has proven once and for all that one need not be familiar with the source material to enjoy a soundtrack album.
http://youtu.be/qtG6pnx2_lU
While it would have been nice to have a clearer idea of what exactly Parish was scoring from track to track, Screenplay has enough blissful moments that it ultimately doesn’t matter. Using it as a gateway into the world of Belgian cinema or female directors certainly wouldn’t hurt, however.

http://youtu.be/GJoUtI_Vngc

via popmatters.com

The post JOHN PARISH – SCREENPLAY FILM SCORE COMPILATION appeared first on INHALE MAG.

Upcoming November artists such as Moderat, John Talabot, The Haxan Cloak, or Fuck Buttons will perform during four sweaty days and nights in Turin. To whet the appetite Club To Club fetes a preview concert showcasing Apparat.

Thursday night the German songwriter, producer, singer, and DJ will perform his latest work Krieg und Frieden – a record that has been inspired by a theatre play based on Leo Tolstoy‘s classic novel War and Piece. Again Apparat produced music that melts his longing voice with melancholic instrumental sections and crispy programmed beats. For his show this means no focus on the dancefloor – instead deep tragic emotions call the tune!

http://youtu.be/JuJg4WcIO7Q

photo carhartt-wip.com

05/24/2013 – Club To Club Preview @ Hiroshima Mon Amour – Turin – IT

via carhartt-wip.com

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Sean Price
http://www.melkweg.nl/

Sean Price. You may have never heard of him, there’s no shame in that. I know hip hop heads who haven’t. But eversince I heard the first Heltah Skeltah song I knew what I was looking for, rap wise. What is Heltah Skeltah? Is a duo composed by Rockness Monsta aka Rock and Sean Price aka Ruck. They put out the “Nocturnal” LP in 1995, their first effort, a classic nowadays. “Magnum Force” (1998) and “D.I.R.T.” (Da Incredible Rap Team – 2008) completed the trilogy, but my guess is they won’t be stopping. Sean Price is a Duckdown Records signee, label founded by his friends, Dru Ha and Buckshot (Blackmoon) in 1995. Seeing how artists change labels like stores do it in Romania with the expired products, I was  always amazed by the longevity of the Duckdown – Sean Price collabo. That makes me think it’s more than a contract that ties him to the label. I would put my money on a long lasting friendship.

Heltah Skeltah – Nocturnal Cover 1996

Price makes his solo debut in 2004 with the “Donkey Sean Jr.” mixtape, having behind the turntables the well-known P.F. Cuttin’, the Blahzay Blazhay DJ. The material was the bomb. The flow was wicked, the puns came rolling over one after the other, the whole thing painted the image of a Chief Gorilla running New York’s asphalt jungle. For example, on “It’s my time” freestyle Price explains why now: “It’s my time, Biggie Smalls dead, 2Pac shot, so it’s my time/ Motherf@#$*n’ Jay-Z quittin’, 50 Cent and Ja-Rule constantly conflictin’, so it’s my time/ Eminem nice, but Eminem white, n%^&a, it’s my time”. It’s not like other MC’s haven’t said that they’re number one’s, most of them say it, but not all of them convince the listener. Sean Price got me hooked on his self confidence, those grimmy NY gangsta tales and his one-in-a-million flow.

I was pleased to see that “Donkey Sean Jr.” was just the prelude to “Monkey Barz”, his first solo LP, dated June, 2005. Sean P spits pure lava over magnificent beats from Khrysis, P.F. Cuttin and many others, stating himself as a tough, but funny lyricist aiming for what’s his to take: “Ruck solo, Ruck broke, /Here’s a 100 dollars – what a f%^&*n’ joke!/…/And if you feel me act like you know it,/ sincerely yours, the brokest rapper you know…” (“The brokest rapper you know”). I learn it word for word, but it’s not like I wanted it to happen, I played unconsciously till the CD got unplayable.

Monkey Barz – Album Cover

His second solo LP, “Jesus Price Supastar”, hit the shelves in January, 2007. For me, a clever wordplay addict, it was nothing but a perfect continuation to “Monkey Barz”. Tracks like “P-Body”, “Cardiac”, “One” got stuck in my head from the first audition. Then I assimilated the whole LP, admiring the fact that Price remained the same lyrical monster in search for new meat: “Smack saliva out the side of your face/ I ain’t tryin’ to be rude, but duke, you food, so I gotta make grace…”(“Church”). As a follow-up to the album, the same 2007 brought the next Sean Price mixtape, “Master P” (the reference is obvious, from the name to the artwork). You know, sometimes you get bored listening to the same MC rapping about how great he is, how he shoots people, how he prevails no matter the obstacles, but that doesn’t apply to Sean Price. A little bit more optimistic, lacking the funny self-pity rhymes that we could find on “Monkey Barz”, Price rolls towards being acknowledged as one of fiercest MIC handlers ever: “S&*t on these n^&$#s thinkin’ that they better than Sean/ F%^k around and leave your head on your lawn, listen…” (“Good Fellaz”).

Jesus Price Supastar Cover

2009 brings the “Kimbo Price (a prelude to MIC Tyson)” mixtape. Rumours that P got tired and sick of rapping were circuling all over the internet, but they were all set to silence by the release of the mixtape. A lot of names were featured on it, from Royce Da 5’9″ to Skyzoo, alongside the usual Duckdown representatives (Rockness, Buckshot). With a more relaxed sound than Price got us used to, “Kimbo Price” told me that Sean Price, the artist, is getting his share of succes and that couldn’t have made me happier, considering for how long he was doing it and his adaptability to a constantly shifting rap game. When it comes to lyrics, Price brings his A game on this one also: “Be the Bootcamp champion, Sean, /Rodney king rappers cryin’ sayin’ “Can’t we all get along?” (“Megasean”).

Kimbo Price – Cover

These days I’m bumping “MIC Tyson” in my speakers. It’s his latest album, released in October 2012. Critically acclaimed, “MIC tyson” debuted on the 58th position in the Billboard Top 200 and sold over 7000 copies in its first week. The beats are provided by The Alchemist, Evidence, Khrysis, Stu Bangas, Beat Butcha, 9th Wonder and a few others. I recommend listening to it after you get familiar with Sean P, it will make his evolution as a hip hop artist stand out. It’s pure fire, you can light up your blunts with the CD. I’m not gonna disclose too much about it, you can still buy it online.
A bragadoccio MC who has never said anything else besides illustrating his greatness, his power and determination in carrying his name on. And when it comes to hip-hop I’m up for anything, but I’ll always be down with Sean Price. One.

Our INHALE! collaborator: DOC

DOC is a Romanian Rap Singer. DOC is also a man with many stories to share….more,

on https://www.facebook.com/docfacemrecords?fref=ts

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www.infine-music.com

The label is based in Paris, Lyon, and Berlin, it has been founded in 2006 by Alexandre Cazac, Yannick Matray, and French Techno legend Agoria, and it follows no stylistical guideline. It only claims to be cutting edge, humanistic, and emotional! In the last seven years it already released 21 albums and 49 EPs who long stylistically from Techno to Classic, from Flamenco to House, from Electronic to Pop. Their artist roster contains of such acclaimed musicians, DJs, and producers like the Luxembourg pianist and composer Francesco Tristano, the Austrian Electronic lad Clara Moto, the experimental Techno maverick Rone, mysterious Arandel, the Classic meets Techno trio Aufgang, the World music border crosser Bachar Mar Khalife, the Lyon based duo Spitzer, and the French Techno stars Agoria and Oxia. Also lots of collaborations with musicians like Carl Craig, Moritz von Oswald, or Apparat, as well as remixes by celebrated artists like Moeselektor, John Talabot, Robert Hood, Radio Slave, Juan Atkins, or Seth Troxler are part of their versatile discography.

Agoria
www.carhartt-wip.com

Cubenx by Baptiste Leonne

To find out why they are so eclectic we talked to the label manager Julien Gagnebien gave an interview about the label that just wants to release “easy music for hard to please people”.

The InFiné sound is hard to pigeonhole – if you could describe it in one sentence, what would you say?

Julien Gagnebien: InFiné’s catalogue does not fit into a single genre. We would release with as much pride a record of minimal Flamenco from Pedro Soler and Gaspar Claus as a cold-wave-shoegaze album of Cubenx. But over the idea of categorisation there is an “emotional” feel on most of our releases and a special care taken for sequencing. All InFiné albums tell little stories.

Aufgang by Fabien Breuil

Apparat Fanart
http://www.localsuicide.com

-via carhartt-wip.com. More news in InFine’s music you can find on www.infine-music.com

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Scott Bourne
http://www.writerstailblock.com

Today Scott lives in Paris, very much detached from America and the world of skateboarding. Furthermore, he exists in a way that distances him from all the trappings of digital technology, mass media, viral marketing, and the artificial shrink wrapping of the 21^st century. Instead he sits alone before a type writer, working, revising, and thinking.

Following in the footsteps of fellow American authors like Hemingway and Henry Miller, who were drawn to live in Paris, skater, poet & photographer Scott Bourne has called the French capital his home for a number of years now. Known to many in the skate community for his raw & creative skating, notably for Consolidated in the 90s, his outspoken views and full ‘black arm’ tatttoos, Bourne has always stood him out from the crowd.

Scott Bourne Photograph

Scott’s Desk
http://bitchslapmag.com

“Eclipse: Dark Lines From The City Of Light” is the title of the second book of poems by Scott Hobbs Bourne
http://bitchslapmag.com

He has published three poetry books with the help of his longtime sponsors, Carhartt, who also offered full support for his latest novel, A Room With No Windows -  a novel that is based around the author’s real life adventures, released under 1980Éditions this February.

To find out what happens when you dive into your head to search for a truth, including additional biographical questions that go beyond the book, to give all those who have never heard of Scott Bourne, a little introduction, their sponsors put together a very honest and inspirational interview you can find on http://www.carhartt-wip.com/music .

Bram De Cleen and Scott Bourne
Photograph of Bertrand Trichet

Scott Bourne: I grew up on a little family farm in North Carolina. Only house at the end of a dirt road. I was a run-a-way from a small town, mills, agriculture, factory life. After bouncing around the good old USA in a van, by thumb and sometimes freight, I ended up homeless on the streets of San Francisco with my good friend Will Daniel. When he returned to the east coast to walk the Appalachian trail, I found a shitty job and a shitty apartment and kept skating. After close to 10 years in SF, I loaded up my life and moved to Paris where I now live and write.

-via carhartt-wip.com

The post SCOTT HOBBS BOURNE – THE NOVEL, THE CAMERA AND THE SKATEBOARD appeared first on INHALE MAG.

By Jonah Weiner

Random Access Memories, made in near-total secrecy, is one of 2013′s most eagerly anticipated – and most enigma-enshrouded – releases. Late last month, for an upcoming Rolling Stone profile of Daft Punk, they discussed the new album’s creation in extensive detail at their studio in Paris. Here are the ten things you need to know:

They began working on Random Access Memories in 2008, in Paris, with no clear plan. “After three records, there was a sense of searching for a record we hadn’t done,” Thomas says. The duo were dissatisfied with early demos that leaned heavily on electronic equipment, feeling like they were operating on “autopilot,” Thomas says. Eventually, a new approach emerged: “We wanted to do what we used to do with machines and samplers,” he explains, “but with people.” Except for a snippet of “an Australian rock record” that opens the final track, “Contact,” Daft Punk foreswore samples entirely, and they limited the role of drum machines to just two of the album’s thirteen tracks. The only electronics come in the form of a massive, custom-built modular synthesizer that Daft Punk played live on the album, they told me, and an arsenal of vintage vocoders on which they manually manipulated factors like pitch, vibrato and legato. “There’s this thing today where the recorded human voice is processed to try to feel robotic,” Thomas says, referring to the undying AutoTune vogue. “Here, we were trying to make robotic voices sound the most human they’ve ever sounded, in terms of expressivity and emotion.”

Photo- David Black

Nile Rodgers: New Daft Punk Album ‘Went Back to Go Forward’

The title captures the duo’s endless fascination with blurs between humans and technology…“We were drawing a parallel between the brain and the hard drive – the random way that memories are stored,” says Thomas.

…and their endless fascination with the past. 2001’s Discovery was in part a backward-looking concept album about revisiting the funk, disco and soft-rock of Thomas’ and Guy-Manuel’s childhood. For Random Access Memories, they hired “top-notch session players,” says Guy-Manuel, with credits on classic records by Michael Jackson, Herbie Hancock, and Eric Clapton. Chic mastermind Nile Rodgers played rhythm guitar on a few tracks. “The Seventies and the Eighties are the tastiest era for us,” Guy-Manuel says. “And all these guys were tripping on meeting again and playing together again.” He adds: “It’s not that we can’t make crazy futuristic sounding stuff, but we wanted to play with the past.”

Pharrell, Julian Casablancas, Giorgio Moroder, and Animal Collective’s Panda Bear are among the guest vocalists. “We were at a party for Madonna’s last album,” Pharrell recalls, “and I was like, You guys should have produced this! Why did that not happen? Madonna and the robots would have been unbelievable! They were like, We’re working on something. I said, Whatever you do, call me – I’ll play tambourine on it. They looked at each other and they were like, We’ll be in touch.” Pharrell wound up singing on “Get Lucky” and a stomping disco track called “Lose Yourself to Dance.”

The album’s move away from computerized sounds reflects Daft Punk’s “ambivalence” about the EDM craze they helped to inspire. “Electronic music right now is in its comfort zone and it’s not moving one inch,” Thomas says. “That’s not what artists are supposed to do.” He adds that the genre is suffering “an identity crisis: You hear a song, whose track is it? There’s no signature. Skrillex has been successful because he has a recognizable sound: You hear a dubstep song, even if it’s not him, you think it’s him.”

Keep an eye on those Saturday Night Live commercial breaks. So far, Daft Punk have debuted two fifteen-second chunks of “Get Lucky” in ads that play during Saturday Night Live, incrementally revealing more of the song. Along with billboards advertising the album, these TV ads represent a throwback impulse that’s guiding the new album’s roll-out. “When you drive on the sunset strip and see these billboards, it’s more magical than a banner ad,” Thomas says. “SNL is this part of American culture with a certain timelessness to it.” (A billboard overhanging the I-10 east greeted motorists driving to Coachella this weekend.)

The new songs came together around the world. Most vocals and overdubs happened in Paris, but the rhythm sections were committed to Ampex reels in Los Angeles and New York, at Electric Ladyland studio, Henson (formerly A&M) studios, and other venerated old rooms. “There are songs on the album that traveled into five studios over two and a half years,” Thomas says. “They’re vials being filled up with life. Today, electronic music is made in airports and hotel rooms, by DJs traveling. It has a sense of movement, maybe, but it’s not the same vibe as going into these studios that contain specific things.”

While recording, Daft Punk found time in their schedules to jam with Kanye West for his next album. At their Paris studio, they laid down a combination of live and programmed drums while Kanye worked out rough vocals on the fly. “It was very raw: he was rapping – kind of screaming primally, actually,” Thomas says. “Kanye doesn’t give a fuck,” Guy-Manuel adds. “He’s a good friend.” Director (and longtime Daft Punk compatriot) Michel Gondry says that Kanye recently played him “two songs” that sprang from the session. “One of them, I told him it sounded solid and powerful – I envisioned a cube when I heard it,” Gondry says. “He told me, Chris Cunningham’s already directing the video!”

The biker gear from the last album and tour is out; sequins are in. Hedi Slimane, the Saint-Laurent-by-way-of-Dior-Homme fashion designer who made Daft Punk’s black-leather bike-dude outfits for their last album, 2005’s Human After All, designed their new look (spied for the first time in the exclusive photo above.)

They say there are no current tour plans to promote the album. Their “Alive 2007″ world tour, in which they played within a giant steel pyramid covered in screens, was a marvel of pop stagecraft, but Thomas says “we have no current plans” to tour the new record. “We want to focus everything on the act and excitement of listening to the album. We don’t see a tour as an accessory to an album.” When they do finally hit the road, he added, it will be with a career-encompassing set list, not one overly focused on the new material.

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Slam poetry is linked to the Beat Generation of the 50’s trough its style and trough its regard to spontaneity trough performance. The bang happened with Allen Ginsberg’s Howl which showed the power of the two dimensions, that of the words and that of the body, his readings of Howl were actually performances of a strong politically and socially rooted poem that helped create a new movement with Jack Kerouac and William S. Burroughs. “Beat” was opposing to sexual repression and conformity, themes and ideas that modern day slam poets are gallivanting with.

Slam poetry means performing instead of reciting, adding that arousing humanity that a contemporary audience craves for.

With the growing popularity of hip-hop, another exciting form of poetry emerged trough its verse, with a new set of issues and concerns and a new look and sound to identify the poet with, anti-academic and audience friendly.

The person who wrapped it all nice together was the writer Mark Smith in 1984 trough an open mic night held every week that grew more and more popular over the years and has embraced competition form. Smith believes that the slam gives the poetry back to the people and that “we need people to talk poetry to each other”.

The Loud Mouths

Spoken word artists, performers, slam poets are a couple of the terms used to describe the people behind this form of expression, Anis Mojgani, Suheir Hammad, Shane Koyczan, Andrea Gibson, Sarah Kay are just some of the names of the new generation artists. By considering these particular artists you can get a better picture of what slam poetry stands for, as they all have a different balance between meaning, performance, tonality and cheats.

There are also spoken word performances that resemble the hip-hop culture, more of a “Race, Rap, Redemption” (hip-hop music, poetry, dance event) vibe, with artists like Saul Williams or Maya del Valle who focus on race and identity issues.

Use your cipher to decipher, Coded Language, man made laws.

Climb waterfalls and trees, commune with nature, snakes and bees.

Let your children name themselves and claim themselves as the new day for

today we are determined to be the channelers of these changing frequencies

into songs, paintings, writings, dance, drama, photography, carpentry,

crafts, love, and love.

-Saul Williams- Coded Language-

     image source: vashtie.com

Anis Mojgani and Suheir Hammad got known trough HBO’s Def Poetry series.

“I’m twenty-eight years old and trying to figure out most days what being a man means.

I don’t drink, fight or fuck but these days I find myself wanting to do all three.I don’t really have a favorite color anymore, but I did when I was a kid.
And back then that color was blue, and back then I wanted to be an astronaut, an artist, an architect, a secret agent, a ranger for the World Wildlife Fund, and a hobo.”

- Anis Mojgani- For those who can still ride an airplane for the first time-

Mojgani for example is a geeky-looking guy, with a style inspired by Bukowski and Kerouac and he manages to appeal and leave his audience quivering. He takes the mundane, twists it and turns it and in a funny sounding voice and makes you really acknowledge his words. Some of his works are For those who can still ride an airplane for the first time , The branches are full and these orchards heavy, Shake the dust.

Suheir Hammad leans on the strong political message of her writings sustained by her Palestinian-American heritage, as she is not a great performer. She is a political activist and the influence of her poetry has been recognized and supported by TED, where she presents What I Will and Break clustered.

Shane Koyczan wins with his way of swinging from tragic to funny, he focuses more on the story than others, he stirs emphaty rather than rage, or revolt The Crickets Have Arthritis. Not the case for Andrea Gibson who focuses on gender-related issues, gay rights and directs the emotion towards anger.

Slam poetry and influence on audience

“To have great poets, there must be great audiences, too”

- Walt Whitman- Ventures on an old theme.

I understood a couple of things more about audience mentality when I tried to drag a friend to a poetry reading. He was like “Uhm, I dunno, it depends, how long is it going to take? Is it going to be one of those -pulling chairs altogether listening to some guy for hours?”. Besides starting to have some doubts about my friend, I realized that the problem is not only that the audience is not such a big poetry reader any more, thing that has been subject to debate for some time now, but now the audience has a misconception and is rejecting the open mic session format.

And then in this harsh context, the slam movement comes in and is slowly redefining the relationship with the audience and it manages that by having a stake, and a good one to have. The stake for each poet is who can really really do justice to his or her work trough their performance, and of course there is the secondary one of who wins the thing eventually.

Maybe they are not exactly the “angelheaded hipsters” that Allen Ginsberg was depicting in Howl, but they have revolutionized the popular verse in contemporary culture and continue to do so.

Andra Gheorghiu is a prolific scriptwriter… nah just kidding! Just a scriptwriter…kidding again! She’s just studying the thing…or is she?

Photo credits:

Slam poetry @charlottestylemagazine.com

Saul Williams photo © Liberation Frequency

Anis Mojgani © 2013 RAD Photography

The post I SLAM THEREFORE I AM appeared first on INHALE MAG.

I became friends with a lot of his admirers and I started to learn about his work from them. Basically, I found out that he’s a some kind of poet. A street poet who writes with thousands of hands and recites on thousands of voices. A city slick who fears God, but who’s not afraid to go all the way for what he loves most in this world. A conjurer of social, political, life-inspired and funny messages to go with one of the main bonding elements of our world: music. He used to jump behind the turntables and drop those hot beats, then pick up the mic and light up the whole club with a clever rhyme. Then he was laying off the mic, uprock for a little while, then headspin on the glossy floor until one of us puked his breakfast out. Backpack on at night, a whole lot of cans and a way in the depo. Wholetrain masterpieces. He was sending a message and we were helping him.

We never talked about his background, he was acting pretty defensive. Some say he quit high school, others say he even went to college for an year or two. Personally, I find these details overrated. He might not be the most precise mathematician, but when he unveils the speech everything adds up. And this speech of his can be about anything, nothing or everything altogether. But no matter the topic, the plasticity of the exposure permits each individual to have his personalised view of things. I never fully agreed with him on some topics, but still I respect the way he documents his cases, so to speak.

We are grown men now. And here we are, those that followed his lead. Some of us saying what’s on our mind (the MC’s), others bringing the city back to life through colours (the graffiti artists), people riding the drums, shifting their bodies to the rhythm (the b-boys) or turning the wheels of steel and getting the party going (the DJ’s). Some things have changed within these 15 years, nowadays everybody knows him. He made a lot of money, but it’s common knowledge that success brings the ugly cousin, Hate, along with it. I don’t care, he’s the same when he’s around. He keeps telling me not to make more, but to be more. And I will be, I owe him that much, considering what he did for me… What? Sorry, I didn’t catch the question… What’s his name? Hip hop…

By DOC

DOC is a Romanian Rap Singer. DOC is also a man with many stories to share….more,

on https://www.facebook.com/docfacemrecords?fref=ts

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