“The sophomore full-length from Post Animal, Forward Motion Godyssey, unfolds with a frenetic momentum, mercurial and unhinged and gloriously volatile. In a bold leap forward both artistically and sonically, the Chicago-based alt-prog band sets their existential questioning to a wildly kinetic sound, mining inspiration from genres as divergent as electronic and psych-rock and—at one particularly sublime point—achieving both stoner-metal brutishness and dreamy R&B elegance in the very same instant. At turns rhapsodic and unsettling, meditative and chaotic, the result is anything but subtle: a body of work that beckons deep involvement from the listener, a richly layered experience primed to leave its audience indelibly transported.”
Catchy, with keytar solos.
“While metal is what they do, the band clearly has mixed 80s New Wave synthpop with this modern progressive metal sound, creating music that is airy, hyper melodic, and incredibly fun to hear. You will hear dense keytar layering and super strong vocal hooks right alongside powerful polyrhythms and huge riffs. This is a band that knows musical space and understands how to balance everything to a tee.”
A particular vibe, well executed.
Cool demo performance using high speed projection and face scanning…
“The latest work to utilize real time tracking and face projection mapping using a state of the art 1000 fps projector and ultra high speed sensing, “INORI-PRAYER-,” has been released. This project was born when Nobumichi Asai (WOW) approached collaborators TOKYO ( http://www.lab.tokyo.jp/ ), the dancing duo AyaBambi, and the Ishikawa Watanabe Laboratory at the University of Tokyo.
This project began when songs were created about “life,” a theme proposed by Tanigawa (TOKYO), who acted as this project’s director. Creative and technical director Asai (WOW) and CG director Shingo Abe (WOW) completed visual production and programming based on inspiration they obtained from the songs. Aya Sato added the choreography, and TOKYO completed the project by making it into a video. “Radioactive” is the inspiration that Asai felt from music. “Radioactive” wields destructive power, and from that brings “death”, “suffering”, and “sadness”. And then, the “opportunity” to overcome those things. Accompanied by the overwhelming performance of AyaBambi, a visual synchronization of black tears, skulls, faces being severed, Noh Masks of agony and the Heart Sutra have sublimated into a single piece of work.”
Could listen to this guy noodle around improvised guitar solos all day.
This is really nice. Modern classical, jazz inflected. Composed by an associate professor of physics at Notre Dame. More on Spotify.
“Taking their name from George Orwell’s novel “Keep the Aspidistra Flying”, ASPIDISTRAFLY was formed by Singapore-based singer-songwriter April Lee and producer Ricks Ang in 2003. The duo play a flickeringly filmic mixture of ambient folk with gossamer-like vocal harmonies and guitar-based drone wrapped in delicate lo-fi haziness.”
More @ Kitchen-Label
“After leaving a career as a mechanical engineer in Boston to focus on art and sculpture, Tristan Shone, the creator and sole artist behind AUTHOR & PUNISHER, moved west to pursue his MFA in Southern California. In the metal and machine shops of University of California, San Diego, Shone forged a relationship with design, sound and fabrication that ultimately yielded AUTHOR & PUNISHER‘s first music and mapped the journey away from traditional instrumentation towards custom made, precision machinery.
Shone used his technical knowledge, along with his artistic background to create what Wired Magazine has hailed as his own “special brand of doom metal.” All aspects of the AUTHOR & PUNISHER sound begin with physical movement, limbs struggling in unison to coordinate a wall of electronic rhythm and oscillation, ultimately conditioned by an organic and loose quality absent of plastic perfection. AUTHOR & PUNISHER performances are a real amalgamation between man and mechanisms. They are direct, physical, heavy experiences that have amassed praise and intrigue from a wide array of audiences”
“…There Existed An Addiction to Blood is Clipping’s response to the horrorcore hip-hop of Brotha Lynch Hung and early Three 6 Mafia, which they’ve always loved and knew they wanted to pay homage to. But also, as horror film and literature lifers, their long-awaited opportunity to make a musical anthology of horror stories in the vein of the blaxploitation flicks of the 1970s—which they view as distinctly political, as Clipping has always been. The title of the album is taken from the 1973 film Ganja & Hess, an avant-garde horror film about black vampires that’s sampled in the centerpiece of the album, “Blood of the Fang.”
“It’s a lot of things I’m attracted to and interested in in noise, and metal, and extreme music,” Hutson says. “Which is, like, a very vocal hard-left, anti-racist politics. But that’s handled kind of irresponsibly and violently, in a way that would be frowned upon by non-anarchists, I guess.”
“The “Blood of the Fang” visual is inspired by a photo of Huey Newton — co-founder of The Black Panther Party for Self-Defense — hand-cuffed to a hospital gurney while being treated for a gunshot wound in the abdomen after a gun battle with Oakland police in October 1967.
[…] Daveed Diggs’s lyrics conjure an alternate history of black political struggle in the 1960s and 70s, name-dropping radical activists and reimagining them as a pantheon of undead superheroes fighting against systems of oppression.”
Sankai Juku. Hope to see them perform one day.
Akira vibes. I’d watch a full length film of this.
“Zosha Di Castri and David Adamcyk’s Phonobellow, an hour-long new music theater work for five musicians, electronics, and large-scale performative installation, is the result of this collaborative process. Taking as their starting point the year 1877, Di Castri and Adamcyk explore how Muybridge’s high-speed camera and Edison’s phonograph have marked human perception. Via a heterogeneous assemblage of music, images, recorded texts/sounds, electronics, movement, sculpture, and lighting, the piece seeks to capture how deeply these inventions reverberated with people at the time, and continue to reverberate to this day.”
I saw this the other day and it was an experience – exciting, energetic, and unpredictable. Composed by Zosha Di Castri and David Adamcyk, performed by the International Contemporary Ensemble. More information here.
Fascinating and face-palm-worthy article on MTA’s haphazard attempts to wrangle 1930s-era subway technology into the 21st century.
The MTA has a thankless and extremely difficult job: They have to keep the trains running. They have to do it with equipment from the 1930s, in a hostile funding environment, as administrations come and go, as public interest comes and goes, in the face of storms and accidents and pieces of aluminum foil. This they manage to do. 1.6 billion people every year take the New York subway. The system carries more than 60 percent of all people coming into Manhattan every day. It is, for the most part, safe, affordable, and there.
But still, a reasonable person looking at three projects that aim to do roughly the same thing, projects that have different teams and different agendas and seem to take, always, five years longer than planned and seem to cost, always, hundreds of millions of dollars—well, this person has to wonder whether there’s some law of the universe that makes large government software projects an expensive drag or whether in fact there’s a better way.
Read more on The Atlantic:
“The best innovations — both socially and economically — come from the pursuit of ideals that are noble and timeless: joy, wisdom, beauty, truth, equality, community, sustainability and, most of all, love. These are the things we live for, and the innovations that really make a difference are the ones that are life-enhancing. And that’s why the heart of innovation is a desire to re-enchant the world.”
Godfrey Reggio is better known for Koyaanisqatsi, his masterpiece meditation on late 20th century socio-economic malaise. These short pieces for the New Mexico Civil Liberties Union are just as unsettling, but more experimental in form.
A fascinating documentary exploring the oil industry in Ghana and Nigeria through multiple vantages, from principals at private equity firms investing in Ghana, to guerrillas blowing up pipelines in Nigeria. Free with Amazon Prime.