“Now when we kiss, I feel like physics are true;
The world, it spins; my body, begins with you.”
File under: LOLWAT
Credit is due to Z and Zak for the suggestion…thanks for writing in, guys!
To spread the word about their latest synthesizer – The Sub Phatty – Moog asked Flying Lotus and lilfuchs to combine their talents on a one-and-a-half minute promo video. Their last collaboration yielded Zodiac Shit, one of my all-time favorite music videos, and the attached is a similar dose of colorful, trippy eye-candy. It’s a treat, y’all…enjoy!
I’m a rather outspoken fan of both Bonobo and Cyriak so when I found out that Ninja Tune recently facilitated a collaboration between the two I was pretty fuckin’ pumped…so much so, in fact, that I didn’t watch the attached til this morning. The end of last week had been pretty busy and the last thing I wanted to do was have the initial screening take place on a small-ass screen with some tinny earbuds delivering the audio.
Cyriak’s visuals are gonna be kick-ass no matter what (Exhibit A) but this music video is especially nice because both his work and Bonobo’s sound are all about a steady layering-on. Each artist starts with small, simple and discrete atoms – a stripped-down drum part or short, simple video loop – and starts piling them on top of one another until the whole far-exceeds the sum of its parts. It’s the same ‘spirit’ that’s inherent to many other things I enjoy – electronic music, programming, nature and fractals just to name a few – so to have it distilled into one three-and-a-half minute dose is, well, thrilling. Art is just magic sometimes. Fuck yeah.
Even though I already knew about this one it was fantastic to open up the suggestion bin and find messages from Sam Lillard, Garrett and Mickey Gral ensuring I wouldn’t miss it. Thanks so much guys! Cheers!
It appears Dimitri Stankowicz has been hard at work honing his solid-color-fill vector animation style since we first posted his entry into Björk’s Innocence video contest two years ago. The visuals in the attached sync up beautifully (both in timing and spirit) with Rone‘s deep, synth-driven, spaced-out sound. The net-effect is pure, distilled atmosphere so get it loaded in 1080p and strap your headphones on.
This one’s a treat and we owe Brandon Michael Azzarella a big thanks for sharing it with us on Facebook. Cheers, Brandon!
P.S. If you find that your taste in music tends to line-up with my mine then don’t hesitate to pick up the full-length album ‘Bye Bye Macadam’ is from, Tohu Bohu. It’s packed to the brim with the type of soaring, emotive electronica that’s pitch-perfect for late-night drives and contemplative lazy afternoon seshes.
posted by respondcreate on Jan. 07, 2013 in Videos | tags: animation, astronomy, atmospheric, black and white, dimitri stankowicz, electronic music, fantasy, hd, magic, monochromatic, music video, rone, trippy, vector, wormhole
Absolutely loving the spartan, monochromatic and tight-as-fuck animation in this Mathieu Bétard-directed music video for Kris Menace. It’s a delicate mix of mirrored-and-repeating geometric ‘morphables’, rotoscoped figures and bizarre transitional touches where everything besides line, form and movement is swept aside. Just absolutely gorgeous stuff.
If you enjoyed the attached then definitely give Chunkothy a watch next, I’m 100% positive you’ll dig it. Cheers!
posted by respondcreate on Nov. 21, 2012 in Videos | tags: animation, bizarre, black and white, electronic music, geometric, hd, kris menace, mathieu bétard, mirror, miss kittin, monochromatic, music video, rotoscoping, trippy, wizz
Been itchin’ to post this one since last Wednesday when I first saw it pop-up in Mr. Lotus’ twitter feed. He’s got a new album, Until The Quiet Comes, set to drop on October 1st and made the brilliant decision to hire Sir Cyriak to create a video to promote it’s release.
It’s a true collaboration and exactly what you’d expect when creatives of this caliber combine their unique skill sets. The tune itself fuses together two of Flying Lotus’ fortés: sterile, machine-pulsed-and-stripped-down beats and his trademark spacey, rambling, warm-and-jazzy tones. Cyriak takes that contrast and runs with it, creating a world populated with regiments of single-purpose robots that is forever changed after one of them spontaneously evolves, trading in its initial programming for a more familiar-to-us set of survival-of-the-fittest, kill-or-be-killed instincts. The video escalates in typical Cyriak fractal-fashion, progressing in complexity from the micro to the macro until everything-is-everything and then back again. Word.
It’s a treat, y’all. ENJOY!
Hey, check it out: new Justice. Nice. The attached music video follows in the tradition of their last two, namely that it kicks ass. Barcelona-based CANADA handled the direction and their approach, just like in the previously featured Invisible Light, floods the senses with a meticulously crafted universe buoyed by a warm wave of back-of-your-mind nostalgia. No part is overdone; the story, costumes, sets, visual effects and action all work together in equal proportion, shining in their own way but contributing to a whole that exceeds the sum of its parts. The version posted on YouTube clocks in at four-and-a-half minutes but the one I attached from Vimeo has an extended WarGames/Tron-esque credit sequence that’s nearly as long the story so, if you’re into that sort of thing, keep watching once the action dies down.
As I mentioned at the top of the post, the last two Justice videos we posted – Civilization and On’n'on – are both fantastic (as is the über-bizarre Invisible Light) so give them a watch if you haven’t already.
One more thing: my favorite album of 2011 was easily Galactic Melt by Com Truise (Favorite tune? No contest: Glawio) so I was understandably excited when I discovered that his third LP, In Decay, was released on Ghostly this past Tuesday. It’s packed with Mr. Truise’s trademark lush, layered synths and at present I’ve listened to it four times (the fifth is in progress as I write). If you’re already a fan then don’t hesitate to pick it up, if you’re on the fence head over to Rdio to give it a pre-buy listen.
About ten seconds in I started smiling, immediately caught off-guard – in the most pleasing of ways – by this Joshua Catalano-created journey through a hard-lined, cell-shaded, abstract geometric landscape. The slightly muted palette compliments the loopy, minimal tech-throbs of John Talabot rather well – so much so that I’ve re-watched it a dozen times already.
I typed out a couple of other paragraphs about the attached but they all felt forced, cheap even. I decided to call it quits and just post the damn thing after I remembered some wise words from the great John Peel: “At the heart of anything good there should be a kernel of something undefinable, and if you can define it, or claim to be able to define it, then, in a sense, you’ve missed the point.”
Cheers to that.
I can talk about other stuff in this space, right? OF COURSE I CAN. Here’s some stuff I recommend you check out at your soonest convenience:
1. The Ghostfaced Pixels by Safety Words. It’s a Wu-centric mix tape backed with NES sampled beats…for a taste, give Snikt (my favorite cut from the album) a listen. It’s a free download so don’t hesitate to get on that shit.
3. Do y’all watch Big Brother? Y’all should. My wife got me into it three summers ago after a prolonged campaign of brute-force pleading until I finally gave-in. I’m glad I did. At first glance it looks simple and trashy but if you crack open it’s seemingly cheap facade you’ll find a warm, tasty center that yields a bumper crop of entertainment. The latest season premieres this Thursday. Want to watch it together?
“Join this lovable crew of droids as they solve their differences the only way dubstep robots know how.”
File under: LOLWAT
I wasn’t sure where this music video – by director/animator/illustrator/designer Martin Allais – was headed but ceased to care once the flowing bursts of animation kicked in at 0:41. It’s bizarre in the best of ways, diverting any effort that might have been paid towards narrative into an all-in exhibition of constantly morphing visuals. The animation shifts between hand-drawn and computer generated but shares a textural sheen that, when combined with the paper craft infused stop-motion, creates an intimate, playful atmosphere.
Technically, this project was ‘unofficial’ which just means My Dry Wet Mess didn’t have to pay a dime for a killer music video. It turns out that the bill was picked up by some generous folks over at IndieGoGo so ‘Cheers!’ to everyone who invested money out of ‘pure trust’, having no idea what Martin would end up creating.
I rather like this new, crowd funded world; thanks (again), internet.
Speaking of which, we’re indebted to ‘Mark I’ for dropping this one in our inbox. Thanks!
File under: LOLWAT
Have you guys ever heard of Hawaiian Baby Woodrose seeds? In terms of psychedelics I wouldn’t recommend them. On the gradient scale from discomfort to otherworldly bliss they skew wildly towards the former; your platter is piled high with twin helpings of purge and (if you’re lucky) only a minuscule, mostly-tasteless garnish of surreal, clanking insight. To put it simply: there’s a reason you can buy them legally at your local garden supply store.
We’ve all been there though right? A blank-slate weekend with itchy thoughts, desperate for some kind of stimulation. Your mainstays are all-but depleted with no one in sight to replenish their stores. It’s in these moments the mind gets desperate. “Oh, you read about these on the internet? You heard it could-do-something-or-other? Yeah man, whatever, I’m down.”
A bored young brain can be a strange and dangerous thing.
Anyways, after a heavy barbecue dinner, a few drinks and some futile resin hits we swallowed them down. Numerous trustworthy warnings, received in hypertext, were casually disregarded; apparently they were supposed to be soaked overnight to remove some noxious husk. Too late, it’s 11pm on a clear, perfect Saturday; we’ll take our chances. “Let’s go.”
Hours pass. Nothing. Time for bed; we’re getting sleepy, unaware that this is part of the ramp up. “I’ll take the couch dude, good night, see you in the morning.”
I’m not sure when the ‘thrumming’ started but it probably kicked-off during R.E.M. sleep. Though in-reality absolutely still, my limbs were buzzy and shaking. It was as if my tendons were lengthening, the attached muscles dangling freely from stringy bones like swaying wind chimes before a late-summer thunderstorm.
And where was the warmth going? Why was it traveling to my core in thick palpable waves? Thrum-rum-rum-um, thrum-rum-rum-um, thrum-rum-rum-um. It was pleasant but…not. I couldn’t decide. Was I dreaming?
I opened my eyes and the opposite wall was alive with blinks and flashes. Is this the trip? Yes, but not like I was thinking, the fevered visuals on display came not from my mind but a more pedestrian source: the cheap display of an all-in-one stereo perched high on the shelf behind me. There was no sound coming from the speakers but I could hear it all the same, Thrum-rum-rum-um, thrum-rum-rum-um, thrum-rum-rum-um.
It moved in concert with my jangled limbs, carrying heat down my shoulders and up my hips to meet in the center of my gut. It felt wonderful for about a minute and then I realized what was happening: my body was trying to tell me that I was going to vomit. Like now. In someone else’s house. I needed to make a break for it.
Lying on the cool bathroom floor felt fantastic and I stayed there for hours. It wasn’t just the idle stereo’s flickering slot-machine demo mode that could be heard but all sources of light. In here however, the gentle thrum was gone, it’s barely-audible throb replaced by a constant and abrasive owl’s screech from the bright spherical bulbs above the vanity.
It was around this time that I said aloud, “Morning…I want it to be morning now.”
The flavors in the attached remind me a bit of that night though, thankfully, sans anxious nausea. This is one of those videos you need headphones on in a dark-room to fully appreciate. The layers of tight, aggressive synths and staccato vocals from new-on-the-scene Raveyards coalesce into an aggressive cacophony while the whacked-out dark, just-a-bit unsettling visuals (as directed by Brussels-based Charles De Meyer) ramp up accordingly til it all culminates in a bizarre crescendo.
It’s so dope, you guys; an instant classic. Enjoy!
“This visualization shows ocean surface currents around the world during the period from June 2005 through December 2007. The visualization does not include a narration or annotations; the goal was to use ocean flow data to create a simple, visceral experience…read more on nasa.gov”
Know what’s a bummer? Military spending is on the rise while NASA funding has been on a steady decline since 1992. A big thanks is due to Erica for sending this in to remind us that they’re still doing great things and our boy Neil for some much needed perspective.
Click here to see moar NASA radness on The Tripatorium™.
About three weeks ago Scott Benson tweeted about an apparent segment of the population that thinks animation used to be better then. Wait, did I just link to a tweet? I think I can swing a copy/paste of 140 characters for proper context: “Those who claim that modern animation doesn’t match up to an earlier period aren’t on the internet. It’s the best era of the medium NOW.”
I get what he’s saying – and honestly, I agree – but these are just subjective opinions based on our personal preferences. I’m one of those annoying assholes who, when someone says something is ‘better’, quickly attaches an unsolicited ‘for you’ suffix to their statement. It’s a knee-jerk response conditioned by years of being told the stuff I liked was somehow inferior. Like, for instance, finding out that the particular genre of music I instinctually enjoyed was ‘gay’.
But I like it, isn’t that the whole idea?
I’ve noticed that when the creative efforts of the present are derided it’s because, in the eyes of the ‘haters’, modernization has somehow ruined a sacred process that didn’t need fixing in the first place. In terms of animation, I think there’s something magical about a huge team of people collaborating together to render each cell by hand, nary a computer in site. Certainly the barriers to entry with a process like this (an ability to draw well and a near unlimited supply of patience etc.) tends to keep out the casual riffraff. But this kind of leave-it-to-the-experts, country club, gated-community/ivory tower mentality to creativity is just the un-evolved primate, fear-of-death-and-the-future part of their brains talking. Just go out and make shit; pay their chest-beating no mind.
We’re living in an age when someone like beeple can, with the help of a microprocessor and a generous swath of free time, create his own distinct flavor of audio/visual experience (like the attached) without having to compromise with bean-counters, standards and practices or really anyone for that matter…all from the comfort of home. When else in the past would someone fund a bizarre little film like this? With it’s quirky soundtrack and abstract visual accompaniment where each-and-every blip and beat has its peculiar, candy-colored visual equivalent.
We are in the age where anyone can make what they want and get it out there for virtually nothing. That’s the dream, right? Fuck yes; what a wonderful time to be alive.
Wired has a great write-up on IV.10 which is definitely worth checking out, as is the other beeple stuff we’ve posted; it’s all worth your time. Also, the aforementioned Scott Benson’s The Murf is fan-fucking-tastic; if you haven’t seen it yet don’t hesitate to click that last hyperlink.
Cheers to Sam Lillard and Santi Adams for sending this one our way. Thanks!
OK: headphones-on, lights-down, full-screen and volume way-the-fuck-up. Today’s heady dose of deep, dubby, synth-drenched, head-down tech-house goodness is generously provided by the always-right-on Simian Mobile Disco. It’s a tune from their upcoming album Unpatterns which, for me at least, will be an instant purchase when it’s released in a few weeks on April 15th. If you’d prefer a physical copy of your music – in spite of the fact that we’re firmly in the age of instantly-transmittable bits – you can pre-order it on vinyl or a CD right now via the Wichita Recordings website.
It’s not just the music that’s top-notch but the just-under seven minutes of tastefully restrained, simple, tight, geometric, sometimes-in-sync-and-sometimes-ambling visuals (as created by long-time Simian-collaborators Jack Featherstone and Will Samuel of London-based ISO), too.
We love shit like this, Jordan – thanks so much for sending it our way. Cheers!
posted by respondcreate on Apr. 02, 2012 in Videos | tags: abstract, animation, colorful, electronic music, geometric, hd, iso, jack featherstone, music video, simian mobile disco, trippy, will samuel
posted by respondcreate on Mar. 01, 2012 in Videos | tags: brdg, daihei shibata, dance, electronic music, future, hiroshi sato, music video, plusmus, robots, science fiction, technology, trippy, yaporigami
A line in Resident Advisor‘s recent review of Mux Mool’s Planet High School (on Ghostly) instantly resonated me. Andrew Ryce described the album as, “an anomaly in an overcrowded field of beat music, preferring actual songs over sketches and loops, progression over attention deficit” and, in that one sentence, helped shed some light into my (sometimes) ridiculous tendency to instinctually categorize electronic music as either genius or shit. This type of knee-jerk hyperbole is, on the whole, unhelpful and (embarrassingly) dramatic but it also belies my childlike, underlying passion for the art form and its potential power. Beat-making is getting easier and easier these days but the core challenge remains the same: can you tease warmth and depth from a handful of overlapping loops? More often than not – with legions of producers tripping over each other to mimic Skrillex’s latest ‘drop’ – the answer is a terse and adamant ‘no’. But when it’s ‘yes’? Absolute fucking magic.
One of my favorite producers ever is Bonobo, a one man operation who has an uncanny ability to craft transportive electronic music. I could make my case with some flowery prose but it’d be far more economical to just have you listen to Recurring for the necessary evidence. This, a music video for a remix by Machinedrum of his tune Eyesdown, channels the fluid complexity of the original while ratcheting the mechanical syncopation to eleven.
Enter director/animator extraordinaire Anthony Francisco Schepperd (of The Music Scene, Wail to God and Two Against One fame) who leverages the organic-and-wispy-yet-bass-heavy-robotic intrigue in the tune as an agar plate on which to grow his infectious, signature visual approach. Oh and he crafted it all for Ninja Tune in just under a month. Pro.
The bass on this one is especially nice so get your headphones out. A big thanks is due to Sam Lillard who sent this one our way last night. Cheers!
We’ve posted loads of other fantastic Ninja Tune music videos, click here to see the complete list.
I first saw A.I. at the movies in the summer of 2001. I distinctly remember enjoying it. I haven’t watched the film since but in the past 10 years I’ve heard people talk about how they didn’t really like it. Not that it was bad, mind you, but just that it didn’t knock their socks off; overall just not especially memorable, you know?
I’m trying to remember the plot points now and, honestly, am having a difficult time. There’s that kid from Sixth Sense and he’s a robot but he’s unhappy, right? Does he want to be a ‘real boy’ or something? I feel like there’s definitely some Pinocchio similarities or some shit.
Anyways, what I do remember are the visuals. I was always into watching stuff from a young age but 2001 was towards the beginning of when I started to set aside time to appreciate culture. When I realized art isn’t just Vivaldi or Rembrandt (though they both most certainly are); that it’s anything people create that inspires them; that the things I love – movies, music videos, electronic music, video games etc. – are worth admiring and paying attention to.
Oh right, about that: the visuals! Just rich, colorful and all ‘glow-y’. Great costumes, make-up and set design too. Spielberg is a wizard at atmosphere. Speaking of which, that’s why I’m diggin’ hard on this, the latest from our good pal Pogo. He leverages all the little visually-rich moments that stand out, mining them of their audio and then reassembling it back together again, creating an entirely unique experience. It’s all mood and feeling and I fucking love it. So much so that I’m going to give the movie another go in the coming weeks and then starting disseminating my thoughts in 140-character increments over on Twitter. Do you have an account there? Wanna talk about movies or something?
Oh and just wait til 2:01 when the Jude Law melody kicks in. Nice.
Lights down, volume up and enjoy!
posted by respondcreate on Feb. 04, 2012 in Videos | tags: a.i. artificial intelligence, ambient, chill, colorful, electronic music, future, moody, nick bertke, pogo, remix, robots, science fiction, steven spielberg, technology