01.28.10: sia, kent rogowski, y∆cht & the straight gaze, home video.

A quick list of some awesome things:

+ The incredible Sia announced her Spring North American tour. Sia is one-of-a-kind live, and  “The We Meaning You Tour”, including a stop at Coachella 2010, is a must-see. I. Can’t. Wait.

+ One of my favourite artists, Kent Rogowski, has two killer new prints from his hugely-popular “Bears” series up for grabs on 20×200.

+ I’m super psyched for this. One of my luckiest musical finds of 2009, Y∆CHT & The Straight Gaze, announced their spring “New Mystery Moods” tour, and are hyping it with a killer promo video:

+ Home Video dropped a killer remix of Wave Machines’ “Keep The Lights On.” You should Download it.

zoltán lányi: i’ll have the waldorf salad.

Not only did Zoltán Lányi create this futuristic, fragmented, jolting experimental work to a track by Amon Tobin featuring Bonobo, but he did it while still in school at the Eszterházy Károly College in Eger, Hungary.

To me, the twitching, glitchy POV reminds me of a sort of post-apocalyptic, burned world being studied and leading to the discovery of a whole new level of mechanical life underneath the ruin.

Plus, it’s just really fucking cool.

Via Ventilate

post to facebook : add to del.icio.us : Add to Blinkslist : add to furl : Digg it : add to ma.gnolia : Stumble It! : add to simpy : seed the vine : : : TailRank

pick a piper.

Caribou is easily one of the best things that’s happened to music in the last ten years. I remember where I was sitting the first time I heard “Melody Day” and tripped over myself to find out who was making that colossal, layered, glorious mash-up of sound. I didn’t think it could, but it gets better, courtesy of Caribou drummer Brad Weber…


Pick A Piper is a collective from Weber along with Angus Fraser, Dan Roberts, and Clint Scrivener. They leave no sonic stone unturned: flute, trumpets, glockenspiel, flutes, hand claps, bells, and basically anything you can hit to make a sound. But more than anything it’s the percussion assault that gets you. Their music doesn’t just have a beat, it’s multi-rhythmic. It’s expansive, it’s communal. It feels put together from the best parts of a bunch of disparate sounds that only make sense when they’re together.

It feels like it could be chanted. It loops and soars and doesn’t sound like it will ever need to stop, because it’s nothing as easy to know as lyric-chorus-lyric-chorus-bridge-chorus. It’s timeless, like it might have just been dug out of the ground, and it’s also joyous, like it might have been passed down to them from generations. It sounds like happily putting your arm around someone when you’re drunk and staring into a campfire.

So far they’ve only released a 4-song EP, I’ve listened to it constantly for two days. I demand a full-length album. …Please.

For now, stop what you’re doing and listen to my favourite track, “Dené Sled”:

Play “Dené Sled”

Plus check out a grainy, colourful, almost pre-digital looking video, directed by Weber himself, for their single “Rooms.”

post to facebook : add to del.icio.us : Add to Blinkslist : add to furl : Digg it : add to ma.gnolia : Stumble It! : add to simpy : seed the vine : : : TailRank

david shrigley for pringle of scotland.

David Shrigley is an animation and illustration icon. One of the few animators whose work is so individual that you can usually immediately recognize it’s Shrigley from a single still, his sparsely drawn, seemingly haphazard illustration work is  legendary.

I was a little surprised and worried when I came across a video by Shrigley for luxury knitwear brand Pringle of Scotland. In January I’d seen on one of my favourite blogs, Kitsune Noir, that Pringle had commissioned one of my favourite photographers, Ryan McGinley, to make a film showcasing the Spring/Summer 2010 line that featured the terrifyingly austere Tilda Swinton wandering the misty Scottish highlands in various knits. To me, it was dull and, while beautiful, a waste of McGinley’s phenomenal talents. I was nervous that Shrigley’s work wouldn’t shine either.

I didn’t need to worry. Not only is the video quintessential Shrigley, but it’s totally entertaining; I laughed out loud more than once. Turns out Pringle of Scotland has a refreshing sense of humour, not only about itself but about the entire fashion industry, and they’re not afraid to show it.

Via Motionographer

post to facebook : add to del.icio.us : Add to Blinkslist : add to furl : Digg it : add to ma.gnolia : Stumble It! : add to simpy : seed the vine : : : TailRank

universal everything: reel 2010.

Universal Everything is my favourite motion design shop in the world. Hands down. I’ve written (and raved) about them on shape+colour more than any other agency or artist in the world. Each time they release new work it reinforces my belief that there is always undiscovered art and beauty in the world. I love them and I’ve run out of superlatives.

Now, luckily for me, they’ve just released their new reel for 2010 and I can finally post some of the beautiful work from past projects that I hadn’t because it was older and I was worried I was turning into a stalker. This reel is a magnum opus of awesome. Behold:

If you really want to get into it (and why wouldn’t you?) here are some of my favourite past posts on Universal Everything:

- MTV International Brand Identity

- Advanced Beauty

- 6 Billion People, 6 Billion Colours

- Forever

post to facebook : add to del.icio.us : Add to Blinkslist : add to furl : Digg it : add to ma.gnolia : Stumble It! : add to simpy : seed the vine : : : TailRank

spike jonze + method: i’m here.

So, facts are facts and Spike Jonze is a genius. Along with Michel Gondry, he’s one of my long-time favourite directors (ever since his legendary vid for Björk’s “It’s Oh So Quiet” all the way up to last year’s “Where The Wild Things Are”).

His work is filled with explosions of colour, reality mixed with fantasy, waking from daydreams, the importance of memory, sunlit yearning and moments of loss and explorations of our never-ending searches to find ourselves. Jonze is the shit and that’s all there is to it. I’ve felt more full and more empty and more loved and more alone watching his films than any other director.

And now he’s about to explore the humanity of being a robot…

His latest half-hour short film “I’m Here”, screens tonight at Sundance and is scheduled for a release in March. Commissioned in collab with Absolut (and say what you want about corporate sponsorship, Absolut has a long history of supporting the arts and working with up-and-coming designers and artists through various campaigns) it’s the story of  two robots meeting up and falling in love in LA.

The CG character work, from bi-coastal shop Method, is clearly outstanding. The trailer is only 30 seconds and I basically died when I saw it. Once again, Jonze is taking the concept of our most cherished entities – love, beauty, connection – and turning them onto their heads and into something we’d never imagined before.

Via Feed

post to facebook : add to del.icio.us : Add to Blinkslist : add to furl : Digg it : add to ma.gnolia : Stumble It! : add to simpy : seed the vine : : : TailRank

erin hanson: reminders.

I’ll admit it; I’m a huge sucker for projects utilizing photograph and text. The possibility for creating a double-meaning between the supposed emotion of the image and the ostensible meaning of the words is like a big ol’ playground. Plus any image that involves cut outs that look like real life old skool refrigerator alphabet magnets is good by me.

Some of my other fave projects in the same vein focus more on emotional depth or existentialist questioning:  Kotama Bouabane’s “Melting Words” is a lonely play on sentiments of love and loss at the end of a relationship, while the large outdoor works of Nathan Coley offer more questions that answers about us, our meaning, and our place in the world.

Taking a totally different route, Erin Hanson’s “Reminders” series is filled with  flashes of our most unremarkable thoughts. Banal, boring, and inconsequential, like little snapshots of the things that run through our minds during a normal day and, more often than not, are dismissed and discarded before we’ve even had a chance to realize we thought them.

To me, though, our hopes and fears can be revealed by piecing together the inconsequential things. Often we push aside everything we don’t feel strong enough to confront into the mundane, and these small thoughts are like after-shocks from much larger quakes. What does our vanity say about our true sense of self-worth, what does our sense of obligation or disconnection to our family say about our sense of home, and what does the need to remind ourselves to wake up or go outside say about our lethargy and our over-willingness to connect and live digitally instead of physically?

Via Share Some Candy

post to facebook : add to del.icio.us : Add to Blinkslist : add to furl : Digg it : add to ma.gnolia : Stumble It! : add to simpy : seed the vine : : : TailRank

dark igloo + the pump: do you eat crap?

Last time I was in New York, we stumbled onto The Pump. We were hungry, we were in a hurry, and we’re the kind of assholes who’d rather starve than eat non-organic bison. Luckily The Pump took care of all of that with a killer menu of organic, healthy, chic “fast food.”

I’m hyped to see that their marketing is as savvy and aware as their menu. Their new witty, satirical, retro-tinged online promo vid subtly taps into part of a larger conversation that been evolving the last few years; of what exactly we’re eating, where it’s coming from, and what it’d doing to us. I’d never really looked at the side of a cereal box until I started reading the frighteningly enlightening work of Michael Pollan. His best-sellers “In Defense Of  Food” and “The Omnivore’s Dilemma” (both highly recommended, by the way) are at the forefront of a social rediscovery of “food.”

Created by Dark Igloo,  “Do You Eat Crap?” speaks to the new food movement with a series of snappy, detailed parodies of a whole series of food ads from the last few decades. The cheese spot above is my fave – it’s a perfect throwback to those ’80s, Doyle Dayne Bernbach-esque copy-heavy prints ads, right down to the font. Oh, what I would give to have been a copywriter during the glory days of long copy. A boy can dream…

To me the best part of the spot is that it’s informed by the growing hyper-awareness of food culture but it’s not sanctimonious in its stance. In fact, the video is totally hilarious, but the more interesting bit to me is that I don’t think the real meaning layered behind the humour would have been possible even five years ago. People just weren’t aware enough. While I think it would be still be funny no matter, what really makes it so killer is that it’s a total insider wink to its target: people who are willing to spend $15 on an organic, free-range lunch  and who want to feel like they’re in on the joke everyone eating at Burger King isn’t. And those people, myself among them, like to be winked at.

Via Kitsune Noir

post to facebook : add to del.icio.us : Add to Blinkslist : add to furl : Digg it : add to ma.gnolia : Stumble It! : add to simpy : seed the vine : : : TailRank

david o’reilly + jon klassen: black lake.

There are times when you fall in love faster than you thought you were capable of. All your old signals fade and your plans re-arrange without a word. Your stars align in brand new ways and all the nights you had designed become a dream for your days. Your heart expands and for a time your reality is married to the possibility of everything you can envision. Like a message in a bottle, gently nudged from your shore, this vision travels and, if you’re lucky, the person you love picks it up and carries it with you.

Sweetly, without warning, you construct your potential and in this moment your future and your present melt together. Into an instant eventual, an immediate inevitable. A second where  the possibility of love stretches before you like an ocean and you travel through your imagination; vast and epic and filled with hope, the way each wave yearns to curl up and crash back into the same waters it was first pulled away from.

This is that feeling.

Following their work together on the video for U2′s “I’ll Go Crazy If I Don’t Go Crazy Tonight”, the heart-achingly exquisite “Black Lake” is a collaboration between one of my favourite directors, David O’Reilly, and Jon Klassen and it’s beautiful.

Via Motionographer

post to facebook : add to del.icio.us : Add to Blinkslist : add to furl : Digg it : add to ma.gnolia : Stumble It! : add to simpy : seed the vine : : : TailRank

takcom + samurai jazz quintet: pico.

There’s something about the intrinsic freedom and improv history that’s sewn into jazz that lends itself particularly well to experimental visuals. Without words to guide along a pre-determined narrative, we’re left with an ultimate freeflow; we decide for ourselves what the story behind the sounds is, and the director gets an ultimate carte blanche to create whatever visual story he or she wants.

Directed by Japanese director/animator Takafumi Tsuchiya (a.k.a. Takcom) for experimental jazz outfit Samurai Jazz Quintet, “Pico” is twitchy, graphic, dimension-shifting animation gem. It follows no convention or boundaries, just visualizes, with complete abandon, the sounds it has merged with.

Via No Fat Clips

post to facebook : add to del.icio.us : Add to Blinkslist : add to furl : Digg it : add to ma.gnolia : Stumble It! : add to simpy : seed the vine : : : TailRank

Follow

Get every new post delivered to your Inbox.

Join 79 other followers