This show featured a cameo from Kellie of “Kellie’s Pop Rocks” infamy… short film project (shot during this set) in the works! Simultaneous filming, radio broadcasting, blogging… tech-obsessed multitasking reminiscent of Portlandia sketch “Technology Loop”. At least these laid-back shoegaze-inspired tracks provided warmth on such a drizzly day.
WILD BEASTS bed of nails- smother Wild Beasts are coming to the Indy on April 19… tickets still available!
SCHOOL OF SEVEN BELLS windstorm- disconnect from desire
BEACH HOUSE 10 mile stereo- teen dream
Beach House has a new song, titled “Myth”! Exciting to see how they will follow their breakthrough 2010 release, Teen Dream!
THE SOFT MOON circles- the soft moon Watch this video if you dare… hypnotic video heavily inspired by Marcel Duchamp’s 1926 film Anemic Cinema.
PILL WONDER restless- under peoples win Shoegaze-y Seattle band I stumbled upon via Spotify last night- I like this minimal video!
VELVET UNDERGROUND i found a reason- loaded
BLOUSE time travel- blouse
Check out the Yours Truly session of Blouse’s performance of “Time Travel” at Cafe Du Nord in SF on January 19th! A perfectly subterranean, cobweb-infested setting for this darkly enchanting track.
BONOBO stay the same (mark prichard remix)- black sands remixed
ISLANDS never go solo- a sleep & a forgetting
BLACK MOTH SUPER RAINBOW forever heavy- dandelion gum
DR DOG that old black hole- be the void
HORRORS still life- skying
Disclaimer: I feel that I am playing INTO THE SYSTEM by even writing this post… the whole #creators phenom is a fantastic product placement marketing scheme for Intel and Vice, aligning their brands with a particularly desirable demographic (presumably affluent, tech-savvy urbanities). Nothing is really free, and by participating in an event like this (and by broadcasting your participation via Twitter, blogs, etc), you are providing advertising gold.
But you know what? They did a damn good job. If they decide to spend big bucks on an event that fosters creativity, innovation, imagination… there are worse values to promote. I appreciated the level of intellectual curiosity present at the Creators Project, the sense of elevated discourse, the understanding of the immediate, integrated nature of technology in our lives. Rather than separating “new media” as its own unique entity outside of everyday life, the event featured an acutely realistic perspective on the nature of human interaction in 2012.
James Murphy (LCD Soundsystem/ DFA Records), the Yeah Yeah Yeah’s, and Squarepusher were the headliners in the solid line-up, also featuring Shabazz Palaces, the Antlers, the Hundred in the Hands, and Zola Jesus.
In 2011 the Creators Project toured to New York, Beijing, London, Paris, Lyon, Sao Paulo and Seoul, and this weekend’s SF exhibit was the first full-blown West Coast festival. The Creator’s Project made its first splash at Coachella 2011 during Arcade Fire’s headlining Saturday set, with director Chris Milk’s interactive piece, “Summer Into Dusk”. I found Arcade Fire’s set undoubtedly one of the highlights of Coachella, an emotive experience that exemplified the collective euphoria that festivals strive to achieve. Take a look at this behind-the-scenes documentary about the preparation of “Summer Into Dusk” on Chris Milk’s site, really fascinating.
This was by far the most polite, mild-mannered free music event I have ever been to. Patient cueing for drinks, clean, well-stocked bathrooms, indoor heat-lamps… what is this! It seemed to be a fusion of the soft-spoken, negative-space art world with the unabashed psychedelia of Outside Lands, with just a touch of Burning Man whimsy thrown in. By making the Creators Project a free event (with pre-registration RSVP required), it minimized the classism that accompanies most major festivals ($400 Coachella ticket, I’m lookin’ at you).
Now, onto the exhibits! Stand-out piece by far was “Origin,” aka THE CUBE (shown above). This 40 foot by 40 foot aluminum structure entranced festival-goers long into the night… best viewed while laying down inside of the structure, providing full sensory immersion.
Loved “Meditation” by Minha Yang… feel the power!
“Strata #4” by Quayola was a soothing, engaging, fascinating integration of “old-world” and computer-based art.
Still attempting to process “Life on Mars (Revisited)” by David Bowie, Mick Rock, and Barney Clay. Another exhibit viewed while laying down on pillows, highly recommend! (Photo by MTV, as they did not allow photography inside of the exhibit).
Excerpt from “Song of the Earth: The Arctic Sound of John Luther Adams.” Alex Ross, The Rest Is Noise. Originally published in The New Yorker, 2008.
At The Museum of the North, the composer John Luther Adams has created a sound-and-light instillation called The Place Where You Go To Listen— a kind of infinite musical work that is controlled by natural events occurring in real time. The mechanism of The Place translates raw data into music: information from seismological, meterological, and geomagnetic stations in various parts of Alaska is fed into a computer and transformed into a luminous field of electronic sound.
The Place occupies a small white-walled room on the museum’s second floor. You sit on a bench before five glass panels, which change color according to the time of day and the season.
What you notice first is a dense, organlike sonority; the notes follow the contour of the natural harmonic series– the rainbow of overtones that emnate from a vibrating string– and have the brightness of music in a major key. The moon is audible as a narrow sliver of noise. Pulsating patterns in the bass are activated by small earthquakes and other seismic events around Alaska. And shimmering sounds in the highest registers are tied to the fluctuations in the magnetic field that cause the Northern Lights.
For stellar audio of Adams’ complex, ambient compositions, check out his website and listen to his pieces, which he describes as “electro-acoustic soundscapes.” Here’s a video of The Place in action (albeit with subpar sound quality):
Adams describes The Place in his own words:
“I knew that I wanted to hear the unheard, that I wanted to somehow transpose the music that is just beyond the reach of our ears into audible vibrations. I knew that it had to be its own space. And I knew that it had to be real– that I couldn’t fake this, that nothing could be recorded. It had to have the ring of truth.
“Actually my original conception for The Place was truly grandiose. I thought that it might be a piece that could be realized at any location on the earth, and that each location would have its unique sonic signature. That idea– tuning the whole world– stayed with me for a long time. But at some point I realized that I was tuning it so that this place, this room, on this hill, looking out over the Alaska Range, was the sweetest-sounding spot on Earth.”
This week was a particularly eclectic set, an electronic amalgam of ambient, trip-hop, experimental influences. The only constant was a break from the traditional song structure while maintaining a sense of melodic listenability. A level of weird, the beauty of the mysterious undiscovered. The patron saints of this show were Can, Stereolab, and Radiohead… our sonic guides!
STEREOLAB cybele’s reverie- emperor tomato ketchup
GRIMES oblivion- visions
CHARLOTTE GAINSBOURG paradisco- stage whisper
VITALIC poison lips
Congrats Nick on winning tickets to Vitalic at 103 Harriet!!!!
BJORK all is full of love- homogenic
BRIAN ENO deep blue day- apollo (atmospheric, dreamy, exactly what a deep blue day feels like)
PICTURE PLANE gang signs- dark rift
PANTHA DU PRINCE stick to my side four tet remix
STEREOLAB metronomic underground- emperor tomato ketchup
RADIOHEAD electioneering- ok computer
PORTISHEAD roads- dummy
MASSIVE ATTACK paradise circus (gui borratto remix)- heliogold (wonderful fan vid featuring footage from jean cocteau’s film “blood of a poet”)