I am crazy pumped about this. I’ve been waiting for new M83 material about as much as I was looking forward to new Bon Iver material.
So here is the first single from M83’s new album. Details have just emerged about the name and release date.
You can download your very own copy here.
Over the course of an EP and two albums, Glasgow’s Sons and Daughters wedded punk’s charged menace to a much older macabre spirit lurking in the musty back pages of folk, pop, and rockabilly. It’s a neatly evocative trick, but one that gloomy post-punk icons like X, the Mekons, and the Birthday Party already pulled off in the late 1970s and early 80s. Another quarter-century removed from greasers, torch singers, and murder balladeers, Sons and Daughters’ resurrections had a tendency to feel like kitsch, but really fun kitsch. Their antiquated influences eliminated the need for reverence, so the band could concentrate on cranking out absurdly enjoyable slices of breakneck nastiness.
Sons and Daughters’ third full-length, Mirror Mirror, mostly trades one brand of pillaging for a duller one. The moroseness and death obsession remain (one song’s about the Black Dahlia), but instead of using dark concerns as a springboard for sick thrills, Sons and Daughters have gotten hung up on the precise craft of emulating gothic post-punks like Siouxsie and the Banshees, Joy Division, and Bauhaus. Mirror Mirror is impressively spot-on in its reenactments, from doomy synths and cavernous drums to guitars that are practically always whirring, grinding, or shooting out lonely shards and tendrils; in fact, much of the album’s merit is textural. But that’s a dispiriting realization considering how great Sons and Daughters have previously been at crafting arresting, immediate hooks. And what happened to the tempos? Even the band’s most ardent supporters would concede their previous albums were a tad relentless in their barreling pace, but too much of Mirror Mirror is either plodding or static. Only a few times, most notably on “Breaking Fun” and “Rose Red”, do Sons and Daughters really get pulses pounding.
All this atmosphere and portent would be fine if the band displayed the presence to sell it. Instead, engrossing lead singer Adele Bethel cedes too much of the mic to counterpart Scott Paterson, who has been effective in call-and-response settings but isn’t distinctive enough to carry songs himself. No matter who’s taking the lead, neither singer seems to be having much fun, which used to be a constant for Sons and Daughters regardless of how bleak or blood-soaked their lyrical fixations might have been. Mirror Mirror smacks of a band struggling to be taken more seriously, but simply settling on a more stone-faced form of pastiche isn’t the way to do it. All they’ve really done is trade a Halloween party for a history lesson.
— Joshua Love, July 20, 2011
Worked with the Found Collective on this Wombats music video. I designed and developed software (using C++ / openframeworks / opencv) to process live footage of the band. All images seen above are generated from this software.
Barney Steel – Director / Compositing / Post
Raoul Paulet – Compositing / Post
Memo Akten – Software development
more info at
To describe the work and success of 27-year old composer and music producer Zack Hemsey is to describe the current state of music. Inventive. Dedicated. Original.
Zack represents the up-and-coming talent who are working “in the box” using software like Apple Logic.
Also as an independent artist, Zack has been releasing his own studio albums online, which combine elements of film score, hip-hop, and world instrumentation.
Last year, Zack composed the original track “Mind Heist” for the trailer of the Oscar winning film “Inception,” letting the world see his true potential. Zack has continued to create memorable musical themes that capture the audience’s attention through his work in trailers for Ridley Scott’s Robin Hood, Ben Affleck’s The Town, and David Schwimmer’s Trust.
For more exclusive videos check out www.SoundWorksCollection.com
Join the SoundWorks Collection Vimeo Channel: www.vimeo.com/channels/soundworkscollection
Director: Sufjan Stevens
Animation: Sufjan Stevens
Editing and Compositing: Deborah Johnson
Original Artwork: Royal Robertson
You can purchase MAKE on DVD, the documentary that inspired Sufjan Stevens’ The Age of Adz and tells the story of several artists including Royal Robertson, here:
Ogilvy & Mather New York and Joshua Liner Gallery unveil a series of commissioned murals by celebrated artist Stephen Powers that reinterpret the words and quotes of agency founder David Ogilvy.
Power’s bold graphic style, reminiscent of vintage advertising illustrations puts a unique emphasis on famous Ogilvy sayings and transforms them into actionable words designed to inspire the viewer. Painted in bright colors on the North stairwell of the agency’s headquarters office, the murals run from the first to the 11th floor of the office building.
The murals are being unveiled to coincide with the 100th birthday of David Ogilvy, one of the most influential and important figures in modern advertising.
Curated by Joshua Liner and Jun Lee
(Okay…some higher educators have too much time on their hands….and a really warped sense of humor)
Wear a hood with one eyehole. Periodically make strange gurgling noises.
After confirming everyone’s names on the roll, thank the class for attending “Advanced Astrodynamics 690” and mention that yesterday was the last day to drop.
After turning on the overhead projector, clutch your chest and scream “MY PACEMAKER!”
Wear a pointed Kaiser helmet and a monocle and carry a riding crop.
Gradually speak softer and softer and then suddenly point to a student and scream “YOU! WHAT DID I JUST SAY?”
Deliver your lecture through a hand puppet. If a student asks you a question directly, say in a high-pitched voice, “The Professor can’t hear you, you’ll have to ask *me*, Winky Willy”.
If someone asks a question, walk silently over to their seat, hand them your piece of chalk, and ask, “Would YOU like to give the lecture, Mr. Smartypants?”
Pick out random students, ask them questions, and time their responses with a stop watch. Record their times in your grade book while muttering “tsk, tsk”.
Ask students to call you “Tinkerbell” or “Surfin’ Bird”.
Stop in mid-lecture, frown for a moment, and then ask the class whether your butt looks fat.
Play “Kumbaya” on the banjo.
Show a video on medieval torture implements to your calculus class. Giggle throughout it.
Wear mirrored sunglasses and speak only in Turkish. Ignore all questions.
Ask occassional questions, but mutter “as if you gibbering simps would know” and move on before anyone can answer.
Ask the class to read Jenkins through Johnson of the local phone book by the next lecture. Vaguely imply that there will be a quiz.
Have one of your graduate students sprinkle flower petals ahead of you as you pace back and forth.
Address students as “worm”.
Announce to students that their entire grades will be based on a single-question oral final exam. Imply that this could happen at any moment.
Turn off the lights, play a tape of crickets chirping, and begin singing spirituals.
Ask for a volunteer for a demonstration. Ask them to fill out a waiver as you put on a lead apron and light a blowtorch.
Point the overhead projector at the class. Demand each student’s name, rank, and serial number.
Begin class by smashing the neck off a bottle of vodka, and announce that the lecture’s over when the bottle’s done.
Have a band waiting in the corner of the room. When anyone asks a question, have the band start playing and sing an Elvis song.
Every so often, freeze in mid sentence and stare off into space for several minutes. After a long, awkward silence, resume your sentence and proceed normally.
Wear a “virtual reality” helmet and strange gloves. When someone asks a question, turn in their direction and make throttling motions with your hands.
Growl constantly and address students as “matey”.
Devote your math lecture to free verse about your favorite numbers and ask students to “sit back and groove”.
Announce that last year’s students have almost finished their class projects.
Inform your English class that they need to know Fortran and code all their essays. Deliver a lecture on output format statements.
Bring a small dog to class. Tell the class he’s named “Boogers McGee” and is your “mascot”. Whenever someone asks a question, walk over to the dog and ask it, “What’ll be, McGee?”
Wear a feather boa and ask students to call you “Snuggles”.
Tell your math students that they must do all their work in a base 11 number system. Use a complicated symbol you’ve named after yourself in place of the number 10 and threaten to fail students who don’t use it.
Claim to be a chicken. Squat, cluck, and produce eggs at irregular intervals.
Bring a CPR dummy to class and announce that it will be the teaching assistant for the semester. Assign it an office and office hours.
Have a grad student in a black beret pluck at a bass while you lecture.
Sprint from the room in a panic if you hear sirens outside.
Give an opening monologue. Take two minute “commercial breaks” every ten minutes.
Tell students that you’ll fail them if they cheat on exams or “fake the funk”.
Announce that you need to deliver two lectures that day, and deliver them in rapid-fire auctioneer style.
Pass out dental floss to students and devote the lecture to oral hygiene.
Announce that the entire 32-volume Encyclopedia Britannica will be required reading for your class. Assign a report on Volume 1, Aardvark through Armenia, for next class.
Ask students to list their favorite showtunes on a signup sheet. Criticize their choices and make notes in your grade book.
Sneeze on students in the front row and wipe your nose on your tie.
Warn students that they should bring a sack lunch to exams.
Refer frequently to students who died while taking your class.
Show up to lecture in a ventilated clean suit. Advise students to keep their distance for their own safety and mutter something about “that bug I picked up in the field”.
Jog into class, rip the textbook in half, and scream, “Are you pumped? ARE YOU PUMPED? I CAN’T HEEEEEEAR YOU!”
Here’s the teaser: