You’re listening to: Kod Hang Kam – The Circle of Karma. If this inspires you to go to Thailand, check out all the songs that may soon appear in Soul Sides’ mixtape: Pass the Sriracha: Soul, Funk and Psych from the Asian Diaspora here.
If you need more, slam here.
(Pictured are ‘The Impossibles‘)
The new Ratatat Video: “Drugs” is an ugly, fake, and very jarring and interesting exploration of stock photography and commercialism. It brings out the ugliness of prolonged fake eye contact and poor production values, and just happens to be paired with a song. Watch the video below and check out some of the director’s other work even farther down…
The Director, Carl Burgess on the video:
“I have always been fascinated by stock imagery and stock footage collections, Hours and hours of footage which for the most part created with no pre defined use in mind, sitting in storage waiting to be picked up and dropped into a budget documentary.
Searching for ‘Stressed Businessman’ or ‘Old Man Smiling’ on Getty Images throws up 100s of great results. There is a surreal quality to these staged clips, and more often than not a really strange dark humor about them.
Unconvincing acting, forced emotions, cheap lighting are just some of the things that make these clips unique, and these are the qualities I wanted to embrace.”
Also see “Three people trapped in infinite politeness” and “Talk Show.”
Produced by blink art. Directed by Carl Burgess.
I’ll just quote from their myspace page:
After a year of tracking and mixing, GAYNGS is officially ready to release the album, entitled Relayted. The initial goal was achieved perfectly, yet Relayted sounds refreshing and modern. With each song written at 69 BPM’s, and tripped-out transitions from song to song, it is truly an audio experience from start to finish.
I got their album and it’s very warm and comfortable but dramatic–the 69bpm feature is partly to blame. Go get it.
For a textual teaser, below are lyrics for “The Last Prom on Earth” (more…)
If you’re a fan of the Kinks like I am, you should check out their holiday-themed performance with the New York City-based Dessoff Chamber Choir. MASH HERE.
(via Katie, my big sis)
It’s like candy
I can feel it when you walk
Even when you talk it takes over me
You’re so dandy
I wanna know
Can you feel it too just like I do
(hoo!) (more…)
It’s a Dada brainfuck directed by Keith Schofield that features a dinosaur in a wig (in a bathtub), a giant rat getting held up at knife point, a dude in a SpongeBob costume getting tackled by the fuzz, an astronaut with pancakes for a head, a guy racing a flying axe, a dude chilling on the street with a giant walnut, and one more guy with half a beard. (via Pitchfork)
…loads of well-planned scenes with variously masked characters:
Or here.
Just imagine an interface, and make it so…
Interactive Museum from Nicolas Loeillot on Vimeo.
Here are two samples from the range of audio tools online. The first is simple, (tonematrix) and the second is far more complex (Audiotool). Please check them both out, but imagine for yourself what you would like to do someday online. Someday you WILL…. (more…)
A web-u-drama about the significant sandwiches in our lives…
Listen here: Randalph, Geoey, & Tommy
Written, Produced, and Performed by James Patrick Roehl [msg]
More James below:
Certain smarty pants (I’m looking at you James Boyle) are stepping up to write accessible, interesting, and essential works on the depressing state of copyright law/file sharing/free culture. Things are not good, and everyone should know not just the base headlines “Teenager sued by RIAA for $15,000“—but the facts. I now refer to Boyle:
It is not merely supposed to produce incentives for innovation by rewarding creators, though that is vital. Intellectual property is also supposed to create a feedback mechanism that dictates the contours of information and innovation production. It is not an overstatement to say that intellectual property rights are designed to shape our information marketplace. Copyright law is supposed to give us a self-regulating cultural policy in which the right to exclude others from one’s original expression fuels a vibrant public sphere indirectly driven by popular demand. At its best, it is supposed to allow a decentralized and iconoclastic cultural ferment in which independent artists, musicians, and writers can take their unique visions, histories, poems, or songs to the world—and make a living doing so if their work finds favor. [via Boyle, The Public Domain]