A Place To Bury Strangers have just premiered the new video for their song “So Far Away”, created by band member Oliver Ackermann using a collage of his own photos. Using the iPhone application Hipstamatic, Ackermann got the idea after importing some photos from his phone to his computer & watching them flash in quick succession across the screen: “The pictures are all take with Ina’s 1969 Film with the iPhone application Hipstamatic. I did this because it is one of the most common ways photos are taken and shared at this moment in time. The photos were all taken since our van was stolen in Italy. Once I started importing photos and assembling them then I realized with a couple of the cool driving sequences that I shot I should shoot some things in an animation style. The story in the video is personal and reflective of our lives over the past year or so.”
A Place To Bury Strangers have also announced they will tour with The Joy Formidable across the US this Spring. The bands will start on the west coast with dates in San Francisco and LA before heading across the Midwest through to the East Coast & wrapping it up with dates in Montreal and Toronto. A full list with details is below. The dates will follow the release of their Onwards To The Wall EP, which is out on February 7 on Dead Oceans. The EP contains 5 brand new, face-melting tracks that explore the limits of loud.


Posted in discosalt
At a time when there’s an exhausted saturation of up and coming bands that are fighting tooth and nail for attention and yet are more disposable to fans than ever, Wu Lyf has been able to make a truly profound impression by moving to the beat of their own feral drum. They became a persistent itch cloaked in mystery by building their reputation on the idea that less is more. Then the ‘unconditioned youth’, as they call themselves, backed it up with a truly exciting album. I have to admit, as far as cults go; this one seems pretty damn good.

Find this full article in the new issue of discosalt Magazine  issue: VOL.01, ISSUE 02

NEW YOUTH ISSUE: The second issue of discosalt Magazine features art, music and film exclusives; new Fall music;  new sub-culture;  interviews;  album reviews and more.

COVER STORY: WU LYF And The new Cult of Unconditioned Youth

FEATURES: Reduce, Reuse, Recycle, Regret; No Shave November;  Inside the Bicycle Film Festival;  Front Stage Pass

EXCLUSIVE INTERVIEWS: Dragonslayer director Tristan Patterson; Take Away Show director Vincent Moonl;  Teeel,; Uk’s Life in Film;  urban artists Pam Glew; Bicycle Film Festival creator Brent Barber

WORK:  Spanish Photographer Ana Cabaleiro

CULTURE: Moped Revival, On Your Own: Teenage Bedrooms

ALBUM REVIEWS: We Were Promised Jetpacks; Atlas Sound; Ryan Adams


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Download a PDF version of discosalt Magazine to view on your computer.

Watch – First Day Of 2012 from Beanpole Productions

Posted in discosalt

A very short vid to welcome 2012 created by Beanpole Productions. Shot entirely on a Contour with underwater housing with music from Expensive Looks.

A TO Zeppelin: The Story of Led Zeppelin

Posted in discosalt

Get the Led out. One of the hardest rocking bands in musical history, Led Zeppelin crafted epic songs of grace and fury influenced by the American blues tradition. This insightful documentary chronicles the band’s history–from their 1968 formation to their reign as 1970s hard-rock giants–through rare photographs, archival footage, and interviews with both the band members and those who worked with them, including tour manager Richard Cole, record engineer Andy Johns, groupies Lori Mattix and Pamela Des Barres, and members of the Yardbirds, Vanilla Fudge, Bad Company, The Ramones, and Foreigner.

Watch the full film HERE

Watch more free documentaries


Little is known about 2forJoy, apart from the fact she’s a London-based singer (that’s all, actually).  ‘Choke’, is the teaser video from the new artist and collaboration with filmmaker Annick Wolfers. The video is the first in a series being released in the run-up to the official 2forJoy launch in the Spring of 2012.


Never underestimate the power of a dare. What originally began as a 48-hour challenge between two best friends has blossomed into one of Brooklyn’s most exciting and unique young bands- Savior AdoreWith an experimental approach to their writing and recording, Paul Hammer and Deidre Muro weave a magical musical tapestry with their distinct voices, lush harmonies, and wild sonic palette. Somewhere between dream pop and adventure wave, their songs transport you to a world that is both foreign and warmly familiar.

Savior Adore recently released the track “Dreamers” on limited 7″ via Neon Gold Records with a remix from Lightwaves and Xaphoon Jones.>Give a listen the Lightwaves, remix below:

MP3: “Loveliest Creature” (Lightwaves Remix) – Savoir Adore [exclusive]


Discosalt Holiday Mix : Volume 2

The holidays just wouldn’t be the holidays without some cheesey Christmas music. Like last year, we thought it would be fun to compile a list of holiday and winter themed favorites, to keep your holiday party going well into the New Year. So gather ’round the warm glow of your computer screen; the music player is loaded up with new indie holiday tracks and some old staples from artists like Atlas Sound, Summer Camp, Florence and the Machine, Arcade Fire, Johnny Cash and Tom Waits.  Happy Holidays from discosalt!

Click To Listen to VOLUME 1.

* note: some songs on the second half of the player may take a minute to load.


Icelandic guitarist and solo artist Jónsi (SigurRós) is no stranger to film score (Vanilla Sky). Most recently, the artist got the opportunity to provide the soundtrack for an upcoming Cameron Crowe film, We Bought A Zoo, starring Matt Damon and Scarlett Johansson. The soundtrack is composed of fourteen Jónsi tracks, two are completely new pieces, nine shorter “theme” pieces, and reimagining’s of songs from Jónsi’s debut solo album “Go.” It also includes “Hoppípolla” a track by Jónsi’s band SigurRós. The album will be available for purchase Dec. 13 and is currently streaming on Click HERE to listen.


The Vaccines recently went into the studio to record with Albert Hammond Jr. of The Strokes and Gus Oberg. The product of that session is the band’s latest track “Tiger Blood.”  Watch the official new video for the track right here. “Tiger Blood” and The Vaccines b-side “Tuck and Roll” will be available digitally December 13th on Columbia Records. The band are currently on tour in Europe through the end of the year. For more on The Vaccines visit: Winning!


This week, Discosalt caught up with Darby Cicci; the keyboard, trumpet, banjo contingent of Brooklyn band – The Antlers,  to discuss life on tour, duck sex, zombie heads and their most recent album Burst Apart.

DISCOSALT: What have you been up to today?
DC: I sat in the van for 3 hours on the way from Manchester to Glasgow, during which time,  I watched Dario Argento’s horror film Tenebrae. We also went to the best highway stop in the world – near the border of England and Scotland.  It has an amazing selection of lamb and deer meat products!  I also watched (and filmed) some ducks mating…

DS; Duck porn? That could be an untapped market to get into, that is, if the band gets tired of recording albums. Speaking of which, congrats on your most recent album Burst Apart. We have it on heavy rotation. It’s much more up-tempo than Hospice, and surprisingly more electronic. How would you describe the album?
DC: It’s kind of like those ducks,  who were dunking each other under the water in their act of sexual intercourse. That’s the way they mate I guess, by hopping up and down on one another. Afterwards, they didn’t seem to want to get anywhere near each other. Hospice is sort like, if the ducks needed to stay together out of guilt, and Burst Apart is more like, what actually happened. They’re both about different kinds of relationships.

DS: “I Don’t want love” is such a powerful song, both musically and lyrically. Is there a story behind the song?
DC: No story, really. It started out as this uplifting, triumphant song that kinda sounded like it could be an Olympics theme or something. That’s was the working title actually: “Olympics” (All our songs have ridiculously stupid working titles). Later it got changed to “Old limp dicks,” which sounds like “Olympics”,  if you say it out loud.

DS: Old-Limp-Dicks… Old-Limp-Dicks… O-Lympics! You are right! That’s a good one to remember to shout out loud on tour, I bet. And the band has been touring a lot this past year. Do you have a best friend on tour?
DC: It’s basically a constant struggle to stay at peace with yourself; try not to let exhaustion and emotions get the best of you. It’s impossible to live a normal life when you’re on tour for 7 months out of the year. Learn to accept your own insanity and have fun with it. I watch a lot of horror movies. When I’m on tour,  I feel a bit like a serial killer who is on the run; kinda separated from society, except for intense moments of human interaction. Those moments would be shows. Otherwise, it’s just: van, hotel, highway stop, dressing room. Not a lot of normalcy.

DS: Since on tour, have you found a favorite spot to play in? Do you prefer playing the clubs or music festivals more?
DC: I like both, for different reasons. Venues of course are more comfortable,  and you always have time to sound check and fix equipment, and sit around and play on the internet. Festivals are more fun…more lively, but generally require a little more frantic loading of gear, and more stressful situations.

DS: Last year, you had a chance to tour with one of my “other” favorite Brooklyn bands, The National. Can you tell what the tour was like?
DC: The National completely rule. They’re incredibly nice guys; really organized, and the band and crew are extremely professional. I wish every tour was like our two with them. I’m a huge fan of their music, and I watched them every night without fail. We got to play some of the most beautiful venues I’ve ever performed in. It was an experience I will always remember.

DS: If you could have a free pass to one music festival, which one would it be?
DC:  Primavera in Barcelona is pretty special. We haven’t been to Coachella yet, but I hear it’s pretty cool. I really loved Pitchfork festival a few years ago. Really hope we get invited back to that one at some point. Some of the best festivals are the really small 2 stage festivals throughout Europe. They just feel really local, with tons of character and local flavor. And they always have great food.

DS:  When you are moody, do you have a “go-to” song that cheers you up?
DC:  [Wilco’s] Yankee Hotel Foxtrot has always been a “go-to” calming record for me. Or, [The Beach Boys] Pet Sounds. Or,  anything from Au Revoir Simone. Or, anything from Elliott Smith or Bjork. A lot of times,  I just drink and watch horror films. Watching zombies get decapitated always cheers me up.

DS:  Nothing like a decapitated zombie head to scare the tears away.  Now that we are toward the end of this year, what have been your  favourite albums of 2011?
DC: I would say St. Vincent, Bjork, Braids, Modeselektor, Youth Lagoon, Phantogram, Gil Scott Heron & Jamie xx. Fuck,  there are too many. I’m really not good at picking favorites; they’re just too different.

DS:   Is there any band you would like to collaborate with in the future?
DC: Modeselektor.

DS: If you were in  a band from seventies or eighties, who would it  be?
DC: Maybe, Depeche Mode. Maybe, Stone Roses. Or, any band with a lot of “synths”. Maybe Phil Collins and I would have gotten along?

-Hayalsu Altinordu

Double Exposure – Vintage Photos + Nude Models

Photographer Davis Ayer can’t get enough analogue.  He shoots most of his projects on film and his photo essay series called Time Travel, combines two forms of film photography: vintage photographs of cityscapes and forests projected on nude models. The arcs of bridges and trunks of ferns hug the hip lines of partially lit girls. Autumnal foliage wraps around the curved back of a model, warping and blurring, as if frozen mid a caressing motion. Scratches dotting the film become indistinguishable from beauty marks. It all seems quite effortless and light.

[nggallery id=137]


Life in Film are Samuel Fry (Guitar and Lead Vocals), Dominic Sennett (Bass Guitar and Vocals), Ed Ibbotson (Guitar and Vocals), and Mickey Osment (Drums and Vocals). If you watch one of the many videos from London guitar pop band, Life in Film,  turning out an impromptu acoustic performance in the middle of the street, their own garden, or a newly opened Burberry shop,  you hardly notice the gimmick – but you instantly recognize their immense talent for song craft. Their ability to strip a song down, play it straight, and come off as brilliantly as if they’d had an entire 16 piece piece orchestra backing them is truly impressive.
Equally impressive is this: They’re in the middle of recording with British producer extraordinaire, Stephen Street (The Smiths, Blur, Pete Doherty…The Smiths!).  Taking a break from the sessions, the band snuck out of the studio to talk to Discosalt and answer a few
DISCOSALT: In this new batch of songs I hear equal nods to both Brit Pop and American Indie Rock, but overall, it feels very English.  Was this a conscious effort or was it just an organic byproduct of you know, actually being from England?
LIFE IN FILM:The whole process is very organic from start to finish for us. Working with a very British producer obviously helps push it towards the British feel but to be honest that’s just the way we sound.

DS: You’ve posted on twitter that you were really happy with the recording sessions. How did it go working with Stephen Street, the famed producer of The Smiths, Blur, Pete Doherty and countless others? As a Smiths fan, did you get a little star-struck or were you able to separate those two sides?
LIF: Stephen is great to work with. He’s got a really chilled approach which works perfectly for us. We are definitely a little star struck. His previous work is obviously on our minds but it’s one of those things where you want to ask but you don’t want to bombard the guy with questions. I’m sure we’ll get some stories out of him during the course of the album.

DS: How does a Life In Film show go from ordinary to memorable?
LIF: That often depends on the crowd to be honest. We have had some absolute shockers like any band. We usually get pretty excited when we’re onstage.

DS: Other than now, what was the best time period in music?
LIF: Couldn’t really say anything but the 60’s could we?

DS: The London Riots were a few months ago but are still fresh in most of our minds, as Englishmen, how did that affect you/ your state of mind/ national pride? And did it affect this new album?
LIF: Me and Sam live in Dalston and the community spirit was great round our way so there wasn’t any trouble for us. There were cars on fire outside Eds house though. He had to spend the night at our house. It was pretty depressing to watch on the telly. It did cause us a bit of a delay as we couldn’t get to the studio to mix the tracks but given that some people had their houses burned down we weren’t going to moan.

DS: What other artists (musically and visually) would you like to collaborate with?
LIF: We’ve recently been working with designer Kate Moross on the visual side and she’s been fantastic. We’re really looking forward to continuing to work with her.

DS: Who would win in a football match, Life in Film or The Vaccines?
LIF: Sam has a mean right foot, we’d smash them!

DS: What other current London bands are you into right now?
LIF: We do like The Vaccines album. We’ve been really busy recently so I haven’t really heard much new stuff.

DS: You have been to New York a few times now, where’s your favorite place to check out/ hang out?
LIF: We’re actually waiting for our first New York trip but will definitely let you know. Any tips?

The Article is a Remix : Is Remixing Culture the New Direction in Music and Art?

This Article Is A Remix: Is remixing culture the new direction in music and art?
For better or worse, like most of my generation and those younger than me, I grew up voraciously consuming and interacting with pop culture. I spent endless hours holed up in my parents’ basement watching after-school cartoons, playing with toys inspired by my favorite movies and TV shows to create my own, unique story lines; scenes based on existing characters, reinterpreted and re-imagined by me. Years later, In that same basement, I remember agonizing for weeks, to meticulously craft the perfect mix tape from cross generations and genres of music to create my ultimate album.  One of the more honorable Decepticons might team up with Fitor and Road Ranger to fight Smurf village and White Lion might follow Doug E. Fresh & The Get Fresh Crew. There were endless possibilities in the remix. It’s no surprise then that an entire generation, that grew up with this same type of media interaction, is moving popular culture in a new direction.Artists are revisiting the work of other artists – re-mixing current pop culture to create new art.
The trend itself isn’t new. While artists have always sampled and re-purposed their predecessors’ work, there is something unique about today’s brand of recycled art. Artists and musicians are reconfiguring, reshuffling, and recollecting work to present as their own, at incredible, new speeds. This cut-and-paste-as-fast-as-you-can approach to creating art is reinventing our perceptions of pop culture at such a rapid rate that we often don’t have time to properly form an initial reaction to begin with.
Almost the complete antithesis to the No Wave scene of the late 70’s and early 80’s, the current pop culture trend is not about making art that references nothing else. Neither is it a complete throwback to decades past. Instead, it adopts nostalgia for today as the basis from which to create.
From music-mash up DJ super star Girl Talk, whose last album All Day sampled 372 popular songs, to the crude cut-and-paste street art remixes of Poster Boy, Miss Bugs and Mr. Brainwash, the gap between influences and references in art is shrinking.What emerges is merely an alteration of some current cultural contribution.  So, does the remix strip the uniqueness, diversity, and vision of the original art so that it is softened and homogenized? And does the speed at which art is produced and re-produced render it culturally insignificant or unsustainable?In the music world, the solo DJ project Girl Talk, started by Gregg Gillis is paving the way for an onslaught of copycat DJ projects looking to cash in on their own brand of re-mixes. While hip-hop artists have been sampling music for well over a decade, Girl Talk is something altogether new. Gillis prolifically produces dozens of hip-hop, pop and rock mash up-style remixes, using dozens of samples from different pop songs (including current work) to create new ones, sometimes sampling 20+ songs in a single track. The result: pop songs for the attention-deficit.Gillis says the songs he creates, while hashed from other pop songs are, in fact, entirely original. The mashed results mean something entirely different to his listeners than the originals ever did. While they may sound familiar, they are at the same time foreign, and the re-shuffled end-product is given new meaning. The songs are unique and “new”, he says.”With a lot of music, it’s about creating a new way to look at it…If this is a novelty, then it’s a novelty that I’ve spent 10 years really developing. Like, Weird Al [Yankovic] is a novelty, but it doesn’t mean he’s not a genius”.  (Gillis on NPR MUSIC: Girl Talk: Cataloging Samples ‘All Day’, December 4, 2010)We can call “Eat It” genius all we want (and, as satire, maybe it is), but will it ever be considered culturally significant?
Will that black Sabbath/ J-kwon/ Missy Elliot/ N.W.A./ 2Pac,/ JC/ Jay-Z/ Alicia Keys/ Eminem/ Dr. Dre/ 50 Cent/ Ramones/ Aaliyah/ Ludacris/ Chris Brown/ Cali Swag District song from 2010 be remembered?  Or does the expendable attitude this art takes towards its influences make it easily replaceable?

Re-mix culture is also invading the underground art scene. In the UK, Miss Bugs, an anonymous graffiti artist duo, has been rapidly appropriating pop imagery and well-known pieces of street art, like Shepard Fairey’s, “Obama”. Their street art exhibit, “Cut Out and Fade Out,” incorporates elements of existing pop imagery with the street background, to transcend both. So at once it pays homage to – and mocks – its original influences. >>>

Director Tristan Patterson discusses his new film Dragonslayer

Posted in discosalt, top story
Tristan Patterson’s first film, Dragonslayer is this year’s SXSW Best Documentary Feature & Best Cinematography winner and the Grand Jury Award for Best International Feature at HotDocs. Using 10 album tracks jarringly spliced together to structure the film, we are brought into the restless and compelling  world of  Fullerton-based skaterboarder Josh “Screech” Sandoval, as he skates local abandoned pools and battles with the balance between new fatherhood and teen freedom. It’s a portrait of a  specific moment in time that captures a new generation of kids confronting the future.

DISCOSALT: You’ve talked about how you made this film right after the American economy collapsed. With more houses foreclosed in California, there were obviously more abandoned pools available to skate in the film. How does the “decline of western civilization” play into the greater punk ethos of the film?
TRISTAN PATTERSON: What’s interesting to me about the cultural moment we’re living in right now is that there seems to be a lot of fear out there, like people are just putting on blinders and desperately trying to cling to a status-quo that feels increasingly obsolete. There’s also a huge pressure, I think, to fall in line with the status quo. You know, lets not shake things up any more then they already are or we’re all going to be asking for trouble. And my feeling is pretty much, fuck that. I’m so desperate for anything that’s not pre-packaged or market-tested or whatever else the powers-that-be keep coming up with in these vain attempts to try to save their sinking ships. Making Dragonslayer really came out of this feeling. When I met Josh, he reminded me so much of all those awesome punk kids in movies like “Over The Edge” and “River’s Edge” and “Suburbia.” He had all the same affectations: this crazy green Mohawk, a ripped Screamers T-shirt, he reveres Johnny Thunders and GG Allin, even the fact that he skateboards seems almost retro in its way. But what really grabbed me was the fact that for him these aren’t bullshit hipster-poses based on false nostalgia. This is the culture that raised him, and in a strange way, I think it prepared him for the moment we all now find ourselves living in. There’s an amazing line from this Adolescents song “Kids of the Black Hole” that was recorded in 1981 that goes, “It was once a green mansion, now it’s a wasteland, our days of reckless fun are through.” Thirty years later, I think that’s no longer something some weirdo punks from Fullerton, California feel. I think it’s something we all feel. And so the movie, on one hand, is this very personal portrait of a kid who just so happens to be a weirdo punk from Fullerton, but it’s also, hopefully, a kind of punk statement in and of itself that says, let’s fucking open our eyes to what these times really feel like for all of us.

Continue Reading the full article > Download the Fall 2011 Issue of DISCOSALT MAGAZINE

DS: Skating comes across as this zen-like escapist activity in the film. Josh seems to find joy through creating something beautiful in his dark and uncertain times. Do you have a personal connection to the art of skating or was this something you took away by being an observer of the culture?  Is there anything in your life, besides film-making, that you could relate to “the joy of skating” in the film?
TP: I feel a personal connection to anyone who is trying to do anything in life that’s coming from a pure place. Josh is doing that, and doing it really well. No one skates like him, and he doesn’t skate like anyone else. I like to compare him to Pablo Picasso because they’re both short. In terms of me, besides making movies, or trying to make movies, I so fucking wish… I drink too much red wine and go to sleep dreaming of motivating to take a Yoga class. Shit like that.

Continue Reading the full article > Download the Fall 2011 Issue of DISCOSALT MAGAZINE

DS:  Would you say that the culture in Dragonslayer is the new California skate/punk scene? Are today’s skaters redefining anything like they did in the 70’s or do they stand for something unique for today?
TP: I don’t think there’s such a unified thing anymore. It’s not like in the ’70s when you had this singular group of teenagers redefining skate culture on their own terms, or even like in the ’80s with street skating. I’m also not really convinced that skaters ever stood for anything. I mean, if the police put up a sign that says, “no skateboarding,” then I guess skaters stand for skateboarding, but that’s about it. They’re just like any other kids who want to be allowed to express themselves by doing something they love. If there’s a culture on display in Dragonslayer, I think it’s the culture of new suburbia, and I don’t think it’s unique to California. Maybe the sunshine is, but I think there’s an entire generation of kids out there who’ve been raised in these really bankrupt realities. It’s the American cliché that it doesn’t matter where you are because it all looks the same, but it’s more than that too. Everything feels deeply broken in these places. But what’s amazing about this generation, or at least what’s amazing about the kids in Dragonslayer, is how supportive they are of each other, and how resourceful they all are. It’s like, if you don’t like the way people are living in the world around you, invent a new way to live. If you don’t like your family, go out into the world and create a new family, and that’s really what they’ve done, or at least what they are trying to do.

Continue Reading the full article > Download the Fall 2011 Issue of DISCOSALT MAGAZINE
DS: Conceptually, this is a film that really captures a specific moment in time. Not only because of the subject matter but because of the technology used. Did you really film parts of this movie on flip-cameras?
TP: I didn’t film parts of the movie on a flip-camera, Josh did. I gave him one on the first day of shooting with no direction whatsoever other than to try to remember to press record, and his footage is incredible. I was really obsessed with YouTube being an almost anti-cinematic experience, completely voyeuristic and totally pointless. But I also think the aesthetic can be kind of beautiful in its own way, and strangely revealing. I felt like, instead of having talking heads telling you what to think, I’m going to put a flip-camera in Josh’s hands and you’re going to experience how his life actually feels in real time. Pretty early on, he filmed this party and you can hear him off camera saying, “I’m just drunk and filming my eyes.” If it’s a choice between some talking head telling me what to think about him or footage like that, I know what I want to watch. It’s visceral, it captures something truly immediate and it’s all his own. It’s also kind of the whole point of making movies: to feel drunk and film your eyes.

Continue Reading the full article > Download the Fall 2011 Issue of DISCOSALT MAGAZINE

DS:  How important is honesty in the film and the authenticity of the experience? The film was split between the more cinematic footage and reel shot by the character’s themselves. Do you think this way of filming, brought more reality to the film, or a more self-conscious , voyeuristic element to the process?
TP: I like that the film has that dichotomy because it reveals its methods. It’s not trying to hide how it was made. It makes the collaboration explicit. I was hyper-conscience about not filming anything that was only happening because I was filming. More to the point, there’s nothing I shot that’s any more revealing or personal than footage Josh shot of his life when I wasn’t around. If anything, his footage is even more personal and revealing. My point is that you can’t watch this movie and think what you’re seeing is only happening because I was there filming, and I think that’s of paramount importance. The film may have a point of view that’s all its own—it’s certainly not a diary—but part of its point of view has to do with trying to uncover a new way of authentically capturing reality. It’s not enough anymore to just say, this happened and we caught it on film so it’s authentic. We live in an era of reality television. The motives have to be authentic as well.

Continue Reading the full article > Download the Fall 2011 Issue of DISCOSALT MAGAZINE

DS: The soundtrack for Dragonslayer stands out as a driving force for the film, mostly because of the jarring way it is integrated into the film structure to define chapters. It was unlike any other film I’ve seen. How did the 10 song album structure for the film come about ? And how did you decide when to end a track?
TP: When I was filming, I kept asking myself what this movie should feel like. And I kind of had this idea where I started wanting it to feel like some lost punk tape you discover in the trash, like it was the fucked-up demo from a band that went on to achieve greatness, but no one had heard them in their original form when they were just practicing in their garage. So tracks get interrupted, shit gets fucked up, but every now and then a moment crystallizes into something amazing. Maybe it was a way of being flippant about this thing I spent years of my life making, but I also thought it was essential. It was the only idea I had that felt honest to what the experience of making the movie was actually like. And I felt like, with each track you listen to, even if one of the tracks is just static feedback, you get closer to something essential. Hopefully, by the end of the movie, you arrive at a truth.

Continue Reading the full article > Download the Fall 2011 Issue of DISCOSALT MAGAZINE


Posted in discosalt, top story


COVER STORY: WU LYF And The new Cult of Unconditioned Youth

FEATURES: Reduce, Reuse, Recycle, Regret; No Shave November;  Inside the Bicycle Film Festival;  Front Stage Pass

EXCLUSIVE INTERVIEWS: Dragonslayer director Tristan Patterson; Take Away Show director Vincent Moonl;  Teeel,; Uk’s Life in Film;  urban artists Pam Glew; Bicycle Film Festival creator Brent Barber

WORK: Spanish Photographer Ana Cabaleiro

CULTURE: Moped Revival, On Your Own: Teenage Bedrooms

ALBUM REVIEWS: We Were Promised Jetpacks; Atlas Sound; Ryan Adams

Download as an interactive digital magazine app for your iPad.


Posted in discosalt

Click image to open interactive version (via Thomson Holidays).

Music tourism (visiting a city or town to see a gig or festival) is on the rise. But why stop at gigs and festivals? Why not visit the birthplace of your favourite genre and follow the actual journey various music genres have taken as one style developed into another.

To make it easier to trace the threads of music history, Thomson Blog has created an interactive map detailing the evolution of western dance music over the last 100 years. The map shows the time and place where each of the music styles were born and which blend of genres influenced the next.

About the Research (From Thomson Blog):

The map shows the evolution of top level dance genres only, and does not delve into all possible sub-genres.

It is often difficult to pin-point the beginning of a genre to a single year, so we have placed the birth of each genre within 5-year periods.

When the explosion of dance music arrived in the 80s, many genres arrived in the same 5-year period as the genres they influenced. In this situation, the ‘influencer’ genre starts to fade in on the map at the time the influencing line appears.

Non-dance music genres which influenced dance music are also included, but their own influences are not shown.

Often where a genre was first born was not the location it eventually gained most popularity.

The sources used to create the map include Bass CultureLast Night A DJ Saved My Life,The All Music Guide to Electronica, and Wikipedia.

This is a fairly complex subject and much debate exists not only around how you define various genres of music, but also where they initially came from. If you’d like to share your thoughts, we’d love to hear from you in the comments below.

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After a nomination at the 10th Annual Independent Music Awards this year, rising UK electro-pop band, Fenech-Soler, cemented their success headlining the Fieldview Festival and playing the Glastonbury Music Festival. Discosalt writer Hayalsu Altinordu interviewed the band’s bassist-keyboardist Daniel Soler just before their first gig inTurkey, at one of the best music venues in Istanbul –Babylon.

DISCOSALT: Since your formation, Fenech-Soler has been an important band in the UK indie-rock scene.  Which bands do you follow?

FENECH-SOLER: Personally, I’m a really big Muse fan. For me, they’re one of the best live bands going. Their shows are always a spectacle!! In terms of the music I listen to, on a day to day basis, I guess it depends on what mood I’m in. The Metallica black album has certainly accompanied me on arrival to a few festivals this year – it always sets me up for a good show. The most recent thing that I’ve been listening to on the iPod is ‘When Animals Stare’ by The Black Ghosts – recommended.

 DS: This year, you remixed songs by Marina & The Diamonds’ and appear on a Groove Armada track.  Seems the last two years have been extremely successful. Looking back at this year, how was 2011 for Fenech-Soler?

FS: 2011 has been a bit of an up and down year to be honest. Ben was diagnosed with testicular cancer back in February and at that time, I don’t think any of us knew how this year was going to end. It was a period that definitely made us stronger as a band, and, in that respect, it ended up being quite a positive time for us. It felt like we had a fresh start and we had a moment to stop and look at what we were doing for once, and improve things. We had just come back from Australia after playing the Good Vibrations festival with Phoenix, Mike Snow and The Friendly Fires, and the energy and inspiration from that experience meant coming back for the summer festivals, better and stronger than ever, was important to us. Thankfully, Ben’s treatment was successful and we’ve been back on the road, now, since June. We’ve also just finished our UK and European tour, which was the biggest tour we’ve ever done. And we’re out again supporting Example in the UK from the 21st of November, till the 15th of December, which will bring us nicely to the end of the year!

DS: Since we are close to the end of the year, we have started to compile our “best albums of the year”. What is the best album of 2011 for Fenech-Soler?

FS: Metronomy’s new album “The English Riviera” is an album I’ve enjoyed this year. I really think that band has moved forward so much with their sound, and it’s great to see them having some great success in 2011.

DS: Who came up with the festival films video?  

FS: The videos were something we all wanted to do. Previously, when we’ve toured, you find yourself filming things on your phone and documenting funny stuff, but not really doing anything with it. This time we wanted to document every show and make some short movies that we were uploading on a daily or weekly basis, so that fans could watch back moments from the particular show they saw us at. We also wanted to give people an insight into what we get up to, when we’re off the stage.

DS: You guys seem to be pretty good with social media and blogging. Who is the best blogger in the group?

FS: I’d say Ben is the one who takes care of most of our social media sites, like twitter and facebook, but we all get involved in our own blog.

DS: Out of the band members, who is the most serious, the funniest and the most laidback person?

FS: I don’t think any of us are particularly serious, unless a big decision has to be made. In which case, it would probably be Ben. Andy’s wit does take some beating, I think most of our conversations involve some kind of sarcastic comment. Ross is pretty laid back most of the time.

DS: If you could have a free pass to a festival which one would it be?

FS: After going toGlastonbury for the first time this year and having the best festival experience of all time, I would have to say, I would want my free pass to be there! The lineup is always great and the people who go are all about enjoying themselves. It has such a good vibe!

DS: Is anyone in the band collecting vinyl? Any favorites?

FS: Andy has just gone through the process of replacing his CD collection for Vinyl, and that’s the only format in which he buys music these days! I believe that he’s waiting for an album called “La Sexorcisto: Devil Music Vol. 1” by White Zombie that comes on glow in the dark vinyl!!

DS: Analog or digital?

FS: Analog.

DS: As a band, what’s the word you use the most?

FS: We all use the word “eggy” quite a bit to describe things that, shall we say, are a bit disappointing or crap.

DS: Describe Fenech-Soler in 3 words.

FS: Triangle, Sine, Saw-tooth.


[rating: 3.5]
Future Islands: On the Water
Release date: October 11, 2011
Label: Thril Jockey


To say that Future Islands singer Samuel Herring has an unusual voice, would be an understatement. Before listening to the band’s new album, On the Water, I have always equated Herring’s distinct, strained  vocals with the likes of Tom Waits. What critic Daniel Durchholz described as sounding “like it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months, and then taken outside and run over with a car.” But on their new album, Herring’s voice sounds less Waits, and more comical – more like the  voice of Jason Segal’s Dracula puppet in Forgetting Sarah Marshall.


No matter how you desect  it,  Herring’s voice, just isn’t welcoming.  Granted, certain tracks like “Where I Found You”, convey a certain charm and  palpable operatic emotion, but on the whole, Herring’s voice is a challenge for the listener. While there are great things to be said about a band who challenge their listeners, On the Water is relentlessly agitating, with each song masked by an intentionally repellent exterior.


Herring’s voice aside, On the Water is sonically reminiscent  of the last Wild Beasts album or even Austra’s LP. Most songs are built around synthesizers and buzzy, poppy effects, then layered with natural instruments. Where the vocals fall short,  the musical arrangements pick up the slack, and they do so with incredible strength. This is a a nautical album, heavy on atmospherics and complete with splashing wave sounds throughout tracks like “Tybee Island”. “Before the Bridge” is the most engendering song on the album, which is also highly progressive. There is a lot of raw emotion and yearning on this album, some of which flows from Herring, but most of which can be found in the subtle soundscape brilliance that the album is soaked in. Ultimately, song structure is so saccharine and well constructed on this album, that in some instances, Herring’s voice almost seems appropriate.  It takes some time and patience to arrive at that concession, but like listening to their previous effort In Evening Air on heavy rotation, it’s an embrace worth extending arms for.


-Andrew Bailey

Halloween Video Mix

Get your Halloweenhead together with a video playlist of our favorite Halloween Songs.

The Horrors  :  Sheena is a Parasite

Chromeo :  Don’t Turn the Lights On

Ray Parker Jr. :  Ghostbusters

The Ramones :  Pet Cemetary

Bauhaus : Bela Lugosi’s Dead

Rockwell : Somebody’s Watching Me

Spoon : The Ghost Of You Lingers

David Bowie : Ashes to Ashes

Ryan Adams : Halloweenhead 

The Cure : Lullaby

Duck Sauce :  The Big Bad Wolf

MGMT: Kids


ANR: Big Problem

The Cramps :  I Was a Teenage Werewolf

Joy Division : Dead Souls 

Cut Copy : So Haunted 

Sonic Youth: Halloween 

Michael Jackson :  Thriller

Rocky Horror Picture Show : Science Fiction/ Double Feature

David Bowie :  Scary Monsters (And Super Creeps)

The Rolling Stones : Sympathy for the Devil

Radiohead : Bodysnatchers

WolfMother : Witchcraft

The Presets : A New Sky 

Black Sabbath : Paranoid

Daft Punk : End of Line (Tame Impala Remix)


[rating: 5 stars]

M83: Hurry Up, We’re Dreaming

Label: Mute

Release date: October 18, 2011

Hurry Up, We’re Dreaming is twenty-two tracks of flawlessly crafted synth, drenched in intrepid, day-glo, art-pop scenery, barring a wasted moment. What M83 (Anthony Gonzalez) has accurately described as “Very, very, very epic.”

The double-album experience marks M83’s sixth record release, and an ambitious one at that. Siting Billy Corgan’s twenty-eight-track, nine times platinum, alternative magnum opus Melon Collie and the Infinite Sadness, as inspiration, more evoking of The Breakfast Club Soundtrack, Anthony Gonzalez, forges his ongoing love affair with dreams and the magical escapism of his youth into seventy-four minutes of bittersweet nostalgia, reconciled through epic dance jams. The result, is a very long, polished bedroom recording, you can bounce and sway to, contrived as a listener album, not a consumer.

Thematically, this is an album romanticizing youth; utter isolation, ecstatic joy, heartbreak and self-discovery. The first record follows one character’s longing for a relationship to finding love (even if it only  lasts two songs), through a period of self-mourning, and new dawn and redemption.

While this is very much a unified album, almost every song on Hurry Up, We’re Dreaming beautifully occupies a space all it’s own. The stand-out single and notably, one of the most redeeming singles of the year, “Midnight City”, is a humid, adrenaline-driven dream of a song, unlike any of M83’s previous work. Here, Gonzales’ voice is extremely compelling, less of a whisper than usual and more of a throaty cry, as eerie vocal harmonies, haunting sub-textures and synthetic strings adeptly sweep you into a highly danceable urban groove, swimming in broken neon light. M83’s signature dream pop aesthetics are all here, but each track feels larger and more bombastic than ever. “Reunion” is an effective track, ruminating on familiar territory from 2008’s Saturdays=Youth; nostalgia for youth, only this time around with heavier soaring synths. And, there is no better example for magnifying the familiar  than on “Wait”,  with it’s wistful Pink Floyd-like acoustic guitar riff, and high-pitched vocals elevating the song into something bigger and better than any songs off Gonzale’ previous albums.

Hurry up, We’re Dreaming, like almost every “indie” album recorded this year, adopts nostalgia as the basis from which to create, but what makes Gonzalez unique is his ability to dig deeper into the music and memories of his youth and not only move forward with it, but transcend it.


Posted in discosalt

Time to dust your wig and freak the demons!  The Discosalt Halloweekend Bash is finally here!  This year we are taking over the Frost Street Firehouse Space in Williamsburg, with live music from Brooklyn’s Team GeniusQuiet Loudlyand mysterious synth lord Teeel. Tickets are on sale now, just click the link below.


WHERE: Firehouse Space, 246 Frost Street  (L Train to Graham)

WHEN: 9pm-2am, Saturday October 29

***OPEN BAR 9pm-2am***

$25.00 (all inclusive)

Discosalt Halloween Party 2011 Map


Doug Aitken’s installation – Black Mirror Featuring Chloe Sevigny

LA based artist Doug Aitken is most known for his innovative fine art installations but not limited. In 2007, Aitken’s “Sleepwalkers” exhibition at MoMA was able to transform a whole city block into an expansive cinematic experience. His work, which utilizes a wide array of media and artistic techniques, ranging from photography, sculpture, film, and  sound can be seen on display in London, in a new solo exhibition in London taking over both floors of Victoria Miro. The exhibition  includes a specially reconfigured presentation of his acclaimed multi-channel film installation Black Mirror, alongside new wall-and floor-based sculptures and light box works.  Check out more HERE.

In the upper gallery Aitken’s film installation Black Mirror explores the story of a nomadic individual, set in a modern wilderness: a geography constructed of calls, electronic messages, and virtual documents superimposed over the physical world. It is a portrait of people who are the products of a society that has lost track of information and is saturated with change. The characters move in shorthand, they communicate in quick pulses, they travel long distances for short meetings. They depart quickly. The protagonist, a young woman played by American star Chloë Sevigny, exists in the borderless world of Black Mirror where people live fast lives in the shadows. These are the people you pass and don’t identify at the airport terminal, the hotel lobby and the car rental kiosk. Black Mirror explores modern life accelerated. Like a river of light moving on the highway, we’re all on this road, but this is the story of those for whom the road is existence; those who don’t step back to breathe the air, those who never stagnate or stop… this is “the now.” (


Jethro Fox is a songwriter based in Liverpool, UK.  This year has seen the release of first single Blinding Light, which received positive praise from many different blogs and companies, plus a one-to-one songwriting session with Sir Paul McCartney.  Autumn 2011 will see further releases and a selection of tour dates.

MP3 DOWNLOAD: Blinding Light



Teeel’ s Amulet (Remixed) is now available everywhere! You can stream the whole album here or grab it on itunes.  To promote the album, Teeel has also released a new video for the opening track/ Datassette Remix of  “Corduroy Swell”. 

[soundcloud url=”″ height=”200″]


Posted in discosalt, top story

Before youtube, before twitter, before facebook and all the other networks where viral sensations get their inception today, there was “Shut Up Little Man!”: a short 1987 audio verite recording of two argumentative alcoholics, Peter J. Haskett and Raymond Huffman, made by neighboring apartment dwellers “Eddie Lee Sausage” and “Mitchell D.”  The recordings were passed  from friend to friend to reach cult status among the San Francisco underground culture, until Bananafish magazine acquired commercial use of the tapes in 1992, forging the line “Shut Up Little Man!” into viral sensation.  The new documentary “Shut Up Little Man!” examines the tapes and probes the question of how viral sensations start.  The film opened in New York and Los Angeles last Friday.

Watch this exclusive clip from, where Eddie and Mitchell recount their first encounter with Peter and Ray.


New York’s Caveman played a sold-out recordless record release party last week (9/15) for the digital release of their debut album “CoCo Beware” on Magic Man! Records (which you can get here).  Packed with psychedelic pop jams from beginning to end, we were ecstatic for the chance to catch these guys live.  Their show contained a visual component which was relatively nondescript, but which worked nicely to light the stage in a beautiful way while not distracting the audience from the focal point of the performance, namely the music. Frontman Matthew Iwanusa’s vocals contain traces of the nostalgia that seems to pervade every fuzzy shoegaze band since 2008…which is, of course, essentially every “new” band since 2009…but only ever so subtly and in hearing them live, I felt as though harmonically the vocals were aimed more at creating a mood than a mentality.  Anyone you speak to will tell you that if you like Grizzly Bear, you’ll like Caveman, however in a live setting, while a great deal of the albums texture does come through that invariably draws the Grizzly Bear references, I found Caveman to provide what was, for me, a significantly more engaging and exciting performance.  Iwanusa alternated between a standing drum and guitar and on songs such as “My Room” and “Great Life” launched into ferociously heavy tribalesque drum tirades turning the otherwise melancholic and hushed songs into truly dance-worthy jams.  It’s rare to find a band with such sweeping and beautiful sounds to also have the pop sensibilities that Caveman has, and perhaps the best example is “Thankful.”

It’s no surprise that Caveman are so quickly generating buzz instantly upon the release of their debut and have gained places opening with the likes of The War on Drugs, Edward Sharpe & The Magnetic Zeros, and the White Rabbits. These guys put on one hell of a good show. Abandoning the sold out crowd with a deafening reverb, Caveman returned to the stage to perform one last unplanned nonalbum song “Wasted Life.” Our recommendation, be sure to catch Caveman at CMJ next month, you won’t be disappointed.




Posted in discosalt

[rating: 4.5 stars]

Nurses: Dracula

Label: Dead Oceans

Release date: September 20, 2011

Nurses’ entire brand is built off personality. Granted, that brand is founded on the laurels of just two mostly unheralded albums to this point, but nevertheless, the band’s genetics have been fairly well established. On Dracula, not a whole lot has changed. Aaron Chapman’s vocals, the biggest thing that separates Nurses from their closest peers, are as sharp and addicting (and divisive, too) as ever. This is certainly a much more antiseptic record than their last, a progression that lends their sound a little more depth but sacrifices plenty of the organic, backyard-bred charm that helped make Apple’s Acre so infinitely redeemable.Nurses’ third full-length begins with “Fever Dreams,” the lead single and prime point of introduction for what their sound brings to the fold. Industrial clicks and clacks quickly lead to wobbly guitar and percussion, which is then promptly washed over by Chapman’s challenging drawl. His words are difficult to understand at first, if only because he sings practically every note through his nose, his pitch and inflections equal parts airy and whimsical. It can be a challenging sound, but ultimately his vocals – as they have on previous releases – maintain a carefree quality that drives the mood forward successfully. “Fever Dreams,” like several tracks on this LP, can be a little bit repetitive, with only occasional splashes of cymbal between a lot of very similar moments and layers. Still, it’s a nice aesthetic and the harmonies are every bit as addictive as “Caterpillar Playground” or “Technicolor,” the two big Apple’s Acre standouts.In the past, Nurses have been appropriately shuffled under the umbrellas of freak folk and neo-psychedelic rock. That hasn’t changed either, be it the squeaky effects that surround the hollow, loose drumming on “Extra Fast” or the brilliant explosiveness of “Gold Jordan,” which utilizes horns and represents quite easily the band’s most fully realized soundscape to date. It’s fantastic to hear the Portland band expand and indulge; most bands have rough production on early albums simply because that’s all they’ve been afforded, so it’s hard not to feel like albums that come further down the road backed by more proper studios are really the kind of thing that was intended all along. And there’s no doubt about it: Dracula is lush and focused, so clearly the band entered the studio with a vision. Still, these guys are at their best when au naturale. They sound good with production value bolstering their efforts too, but it’s not the same. Dracula just doesn’t have the character ofApple’s Acre or even Hangin’ Nothin’ but Our Hands Down, which might be their weakest record overall even if it did come packaged in a certain lovable, elemental messiness.Dracula‘s key selling point is its accessibility. Concentrated hooks are fused well with crisp, poppy arrangements throughout, though sometimes the use of effects feel forced (“Dancing Grass,” the band’s four-and-a-half minute Animal Collective phase, is an example that really sticks out). The changes here have been small ones, but at least they’ve been well-executed and geared towards drawing in a broader audience. Even if it isn’t quite as organically endearing as their past work,Dracula successfully retains the same sensational personality that’s made them such a must-hear act.

-Andrew Bailey


[rating: 4.5]

St. Vincent: St. Vincent

Label: 4ad Records

Release date:  September 13, 2011

Annie Clark is a woman of almost painterly beauty who would, in all likelihood, cut a bitch if she needed to. Beneath her gracefully composed chamber pop lies a scratchy, violent underbelly. With Strange Mercy, Clark achieves the perfect balance of porcelain elegance and distorted ugliness she’s spent three albums working to hit. Serrated guitar and some seriously agitated synthesizers—the coda of “Surgeon” sounds like something off a particularly wigged-out Bernie Worrell record—rip straight through strings, woodwinds and Clark’s own crystalline voice, leaving fractures in the delicate arrangements that take on a skewed sort of loveliness themselves.


– Matt Singer


Posted in discosalt

DISCOSALT Magazine App is now available in the Apple App Store for your iPad!

DISCOSALT is the first interactive iPad Magazine application dedicated to independent music, film and art. The quarterly magazine features exclusive feature articles and videos,  album reviews,  interviews,  new music, fresh art, and indie culture, with a unique editorial voice and design distinctly divergent from mainstream trends.   With the iPad format, we are able to give our readers direct access to the most current and legit music art and film news without corporate oversight and all without killing any pretty trees.  Readers can simulate the print magazine experience while extending beyond the traditional publication model, interacting with media content. A simple tap on certain pages connects you to video and music content, as well as relevant websites.

[ Click for Press release HERE ]

REMIX ISSUE: The very first issue of discosalt Magazine features art, music and film exclusives, New York Culture, Interviews, Album Reviews and more.

Cover Story: Miami psych-synth band ANR’s Apocalypse survival guide

Features: The Future of Radiohead, Remixing Culture-the new direction in art and music

Exclusive Interviews: Inconic music photographer Brad Elterman, Howl director Jeffrey Freidman, artist/skateboarder Viktor Timofeev, post-punk band Orange Juice, Brooklyn’s Holy Hail

Fresh work: New York based artist Sara Blake and Italian street artist CT

NYC Culture: Urban Surfers, DJ life, Chelsea Grind, Crowd Behavior

Album Reviews: Dawes, YACHT, The Horrors, Battles, Cults

Discosalt Magazine Chelsea Grind

Discosalt Magazine- Band RadarDiscosalt Magazine- work


Posted in discosalt

Morgan Spurlock (Academy Award Nominated Director of Super Size Me, The Greatest Movie Ever Sold) has teamed up with Hulu to debut his new original series “A Day in the Life” on Hulu and the Hulu Plus subscription service. In “A Day In The Life,” Spurlock presents an intimate, first-hand account of a complete day in the lives of fascinating people. The six episode series kicked off on August 17 with jet-setting entrepreneur Richard Branson, and subsequent episodes followed comedian Russell Peters,, and now Girl Talk (aka Gregg Gillis.)

The Girl Talk episode will be live on Hulu Wednesday, September 7th at 3 AM Eastern. Watch it here:





Is indie pop formulaic?

Last summer, discosalt writer Casey Bowers  pinned down 6 Keys to a Classic Summer Sound:

1. 60’s girl group pop melodies

2. Big, bright surf guitars

3. Vocals drenched (or drowned) in reverb

4. Any sound resembling The Beach Boys or Jan and Dean

5. Lyrics with the words: beach, summer, sun or waves

6. 80’s dream pop influence

This year, with the onslaught of 90s indie rock influence, garage rock leanings and psychedelic or chill vibes, 2011 has been about deviation. Here are some tracks that stayed true and got stuck in our heads and a few others that broke away, blurred the lines and just flat out floored us.

1. Bedroom Eyes - Dum Dum Girls
2. Summer Hits Or J Plus J Don't Like - Mazes
3. Hold On - Yellow Ostrich
4. Speaking In Tongues (featuring David Byrne) - Arcade Fire
5. Bone Orchard - Turrks
6. Where I'm Going - Cut Copy
7. Come to the City - The War on Drugs
8. Georgia - Yuck

You can check out Casey's article " Radiohead: Echoes of the Past, Glimpses of the Future" in the REMIX ISSUE of DISCOSALT Magazine, on sale now.



Posted in discosalt

This weekend is, sadly, the final two nights of Rooftop Films this summer. Closing Weekend features the World Premiere of World’s Best Dad, and “Rooftop Shots,” a selection of the year’s best short films.


Friday, August 19, 2011:

World Premiere of World’s Best Dad

8:00 PM Doors Open

8:30 PM Live Music by Sport of Kings

9:00 PM Film Begins

10:30 PM Q&A with Filmmaker Joshua Gross

11:00 PM After Party in the Courtyard

Saturday, August 20, 2011:

“Rooftop Shots” Short Film Program and
Rooftop Films Closing Night Party

8:00PM Doors Open

8:30PM Live Music by Lady Lamb the Beekeeper

9:00PM Films Begin

11:00PM After Party in the Courtyard

WHERE: The Old American Can Factory, 232 3rd St. (at 3rd Ave.), Brooklyn, NY 11215


Friday, August 19, 2011
(Joshua Gross | New York, NY | 84 min.)
Miles hasn’t seen Matt since their father passed away. Now, they’re going to blast him into space. Once they steal his ashes. And figure out how to launch the rocket. And get him to Nevada. We all have different ways of mourning. In some cultures, you don’t leave the house for a week. In others, you drink and have a big party. There might be praying, rending of garments, fire rituals. And that’s what you get here. Sort of. If you’re an aimless young man who’s life has been traumatized by a domineering father, you start by chucking some rocks at your little brother’s window in the middle of the night so you can show off the new stars and strips paint job on the van and the bright yellow t-shirts you hand-printed. Because for Miles (Charlie Ochs), the lead in this charming indie comedy, the adventure is always on the verge of beginning.

More information at:


Saturday, August 20, 2011
Short films so sharp we call them shots, fired from the roof one last time. Includes a haunting piece by the late celebrated documentary filmmaker Tim Hetherington.

THE EAGLEMAN STAG (Mikey Please | United Kingdom | 9 min.)
CRAZY BEATS STRONG EVERY TIME (Moon Molson | New Jersey | 26 min.)
DIARY (Tim Hetherington | Brookly, NY | 19 min.)
IT’S ME. HELMUT. (Nicolas Steiner | Ludwigsburg, Germany | 12 min.)
A PIECE OF SUMMER (Marta Minorowicz | Poland | 23 min.)
SCHLAF (SLEEP) (Claudius Gentinetta, Frank Braun | Zurich, Switzerland | 4 min.)

More information at:




Before she heads over to Auckland, NZ to speak at the amazing We Can Create conference series, a 2 day conference for creatives, discosalt artist Sara Blake is sharing some new work.  Not only can you can see more of Sara in the new issue of DISCOSALT Magazine, but she has been busy preparing new work for a side event exhibition with several incredible local artists as well. The exhibition will be the first installment of a year long project called 100 Girls—a personal exercise and exploration in creating a large body of work of one of her favorite subjects—pretty ladies. And Sara also has very hush hush top secret collaborations coming up as well, which you can sneak a peak at.

Below are some process images and sneak peaks of the 100 Girls series.

Here are some sneak peaks at Sara’s top secret project…shhhhh:


Our favorite Halloween party house band, Team Genius have a new EP,  of pop songs, aptly titled, well,  “Pop Songs” coming out on the 23rd. You can give it a listen right here, then come out and support the band this Friday (8/19) at Mercury Lounge for their record release show with opening band Quiet Loudly.

Team Genius – Pop Songs by Team Genius


[rating: 4.5 stars]

Shabazz Palaces: Black Up

Label:  Sub Pop

Release date:  June 28, 2011

Black Up is a hip-hop album that sounds unlike any other hip-hop album this year. Borrowing from African roots, jazz, ambient, electronic and dub-step and led by enigmatic Seattle based rapper Ishmael Butler aka ‘Palaceer Lazaro’, once ‘Butterfly’ of Digital Planets, Black Upis both dense and dissonant. This is a sonic move reminiscent of early Wu-Tang and J-Dilla mixed with the atmospheric magic of DJ Shadow, sounding at once throwback but some how still miles ahead.


Daniel Isaiah’s recent release High Twilight winds it’s way through years of folk references with some refreshing indie ingredients.  There are tracks that speak to Bob Dylan, Tom Petty and Conor Oberst, but with bursts of a youthful Montreal indie rock sound.  For those looking for an energetic update to more traditional folk songwriting, Isaiah delivers with tracks like “The Naked Night” which features some heavier guitars and synth backgrounds and “Candlemaker Row” with stark percussive interludes.  His charming French tracks “J’habites un pays” and “Mélissa” are a sweet addition and also offer a soft contrast to his folkier sounds. I like that he follows “Mélissa” with “Ogygia” which has a similar quality, but is sung in English.  The two songs speak to each other melodically and tonally.

Check out “High Twilight” and “The Naked Night” now and don’t miss Daniel Isaiah live Friday 6/24 at Pianos or Saturday 6/25 at Rock Shop.



Posted in discosalt

Photographer Josh Owens of recently spent a little over a month (March 12th to April 29th) hotel hopping in Manhattan shooting time lapse with a Canon 5D mark II and two Canon 7Ds. These clips were pulled from over an hours worth of footage with music from NYC based group The American Dollar:


Parts & Labor recently participated in The Onion’s Undercover series going for gold and putting together their interpretation of  Kanye West’s “Runaway” which you can watch by clicking the link. When asked why they covered Kanye P&L’s Dan Friel responds “We found your list pretty challenging… So in the end we just decided to do the one that seemed the most difficult and ridiculous.” Well Parts & Labor nails it, adding their own signature squall and hard rocking aesthetic to Kanye’s track.


Posted in discosalt, top story

Herds of bicycle enthusiasts from around the world will flock to New York City this June for the Bicycle Film Festivalʼs Eleventh year in NY, to celebrate the worldʼs best invention: the bicycle.

Born in New York, the festival’s immense popularity and continued growth has evolved hand in hand with the unprecedented boomin urban cycling internationally. From its roots in New York City, the BFF has grown into a multi-faceted, globalevent that will travel to over 25 cities this year, from Milan to Tokyo, Minneapolis to Sydney.

In 2001 Brendt Barbur, Founding Director, was compelled to start the Bicycle Film Festival after being hit by a bus while riding his bike in New York City. He was inspired to turn this negative experience into a positive one, and created a festival that celebrates the bicycle through music, art, and film.

The festival merges many creative communities, including fashion, music and art, as well as various bicycling communities – road cycling, mountainbiking, fixed gear, BMX, cyclocross – over a shared passion for bike riding.“NY is one of the greatest bicycle cities in the world” says Brendt Barbur. “We are very happy to bring the BFFback home.”

Film highlights include:


The World Premiere of RACING TOWARDS RED HOOK (Dir. Jessica Scott & HydeHarper)

The story of 3 cyclists of diverse backgrounds competing in one of New York Cityʼs biggest undergroundevents, the 2011 Red Hook Criterium. The rules are simple: 20 laps, one gear, zero brakes.

SUNCHASERS (Dir. Irvin Coffee)

This documentary explores the world of competitive cycling through the lives ofthree disabled women, each in distinct periods of their cycling careers as they prepare for the Paralympics.BFF11 showcases a stellar collection of short films, including

LAST MINUTES WITH ODEN (winner of VimeoʼsBest Video Award)

dramatic documentary about Odenʼs struggle with cancer,


showcasing a new interesting bike culture


a bike animationthat puts some of cyclingʼs greats head to head.

Aside from the films, you can also check out

BIKES ROCK, a BFF kick-off concert, June 22

JOYRIDE ART SHOW June 23 at the Spencer Brownstone Gallery

GOLD SPRINTS PARTY June 24 at The Acheron

BFF STREET PARTYJune 25 in the Lower East Side

Celebrating bikes & community, 12-6 PM 2nd street, between 1st and 2nd ave.

The BFF Annual Street Party brings together bicycle enthusiasts and street riders from all over the world foran afternoon of bike fun in the street. Bicycle contests hosted by the best riders in the world. Freestyle fixedgear compettions hosted by the popular group GRIME and BMX Jam hosted by Post BMX. Vendors that spanthe globe will be selling handmade bicycle goods. Thousands of people expected!

LET THE RYTHYM ROCK dance party, June 25 at China Chalet.

300,000 people are expected to attend BFF in 2011. Make sure that youʼre one of them!For the most up to date information on the festival please visit


Stream the digitial album demos from The Band in Heaven; the latest noise duo making a name in the South Florida Music scene.


“The Band In Heaven sports a strong pop sensibility, and they make sure you hear it. It’s a trophy standing on a pedestal of guitar distortion and feedback. The sounds can be pretty punishing, but there’s a blissful, mind-numbing quality to their music, too. It could be likened to dream pop, but sleep is the last thing on my mind when this is on.” –

“If you dig the spacey, droning haze of NYC’s seminal Velvet Underground, Tx.’s primordial psych-pioneers the 13th Floor Elevators or even the dreamy revivalist mantras of such modern-day revisionists as Black Rebel Motorcycle Club, The Brian Jonestown Massacre or The Warlocks, this buzzworthy Orlando duo will make you smile, nod out and fumble for a massive glass of freshly squeezed orange juice. Their informed, crate-digger take on a genre which seems on the cusp of a major resurgence has all the lazy bombast of The Jesus & March Chain at their least “mature”: it’s a numbing wall of fuzzed-out bass, distorted guitar, combo organ and hypnotic, pounding drums drenched in echo and insouciantly bedraggled.” – Savannah’s Connect


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Some more great shows at Rooftop Films coming up this week. On Thursday, They’re  presenting a free screening of the David vs. Goliath documentary Battle for Brooklyn, about Bruce Ratner’s controversial Atlantic Yard’s project. Friday is “New York Non-Fiction,” the popular annual program of short films featuringthe quirky, compelling, and captivating local characters that make New York City great. And on Saturday check out a special sneak preview of Sophia Takal’s deliciously creepy sexual thriller Green, which won her the SXSW Chicken and Egg Emergent Narrative Woman Director Award in Austin this year.

Thursday, June 9th


(Michael Galinsky, Suki Hawley, David Beilinson | Brooklyn, NY | 93 min.)

A group of people in Rooftop’s beloved Brooklyn come together to fight the Atlantic Yards Project—a massive real estate development that threatens to destroy their homes and neighborhood—in this epic tale of how far people will go to fight for what they believe in. Presented in partnership with the Brooklyn Film Festival. BFF runs from June 3rd through June 12th.

No admission for this show. More information at:


The Myrtle Avenue Hill in Ft. Greene Park, Myrtle and N. Portland, Fort Greene, Brooklyn, NY 11205
Enter the park at Myrtle and N. Portland and walk up the path.

Subway: G to Fulton, C to Lafayette, 2,3,4,5 to Nevins or B,M,Q, R to Dekalb

9:00PM Film Begins


Friday, June 10, 2011


It’s Your City. Take a Look. One’s a hustler. One’s a magician. Several are men of music. And one’s just a regular guy. But they have two things in common: They’re all New Yorkers, and they all have a story. One that distinguishes them. One that defines them. One that strikes a universal chord, yet is uniquely New York. These New York stories will stick with you.

Tickets are $10 online or at the door. Tickets and more information at:


350 Grand Street (at Essex), Lower East Side, New York, NY 10002

Subway: F, J, M, Z to Delancey Street-Essex Street; B, D, Q to Grand Street

8:00 PM Doors Open

8:30 PM Live Music by Greg Garing

9:00 PM Films Begin

11:30 PM After Party at Fontanas (105 Eldridge Street, btwn Grand St. and Broome St.)

The Films:


A MAN NAMED MAGICK (Joaquin Perez & Robert Hatch-Miller | Brooklyn, NY)

THE BOWLER (Sean Dunne | NYC)





Saturday, June 11, 2011


(Sophia Takal | Brooklyn, NY | 72 min.)

An eerily compelling sexual thriller from writer-director Sophia Takal, Green focuses on a young literary couple who encounter an alluring country bumpkin during their weekend getaway. Brooklyn-based filmmaker Sophia Takal’s promising debut focuses on the romantic tensions that develop between a young literary couple and the outgoing country bumpkin they encounter during a getaway from the city. Out in the woods, existing relationships start to fray, and the makings of a dangerous love triangle start to come together. Or do they? Takal’s auspicious debut hovers in remarkable ambiguity. Winner of the Chicken & Egg Emergent Narrative Woman Director Award at the SXSW Film Festival.

Tickets are $10 online or at the door. Tickets and more information at:


350 Grand Street (at Essex), Lower East Side, New York, NY 10002

Subway: F, J, M, Z to Delancey Street-Essex Street; B, D, Q to Grand Street

8:00 PM Doors Open

8:30 PM Live Music

9:00 PM Film Begins

11:30 PM After Party at Fontanas (105 Eldridge St., btwn Grand St. and Broome St.)

Plays with:

MEN IN LOVE (Keith Davis | Brooklyn, NY | 12 min.)
Following a bitter break-up, Leo’s best friend takes him out to meet a new woman and ‘get over’ his ex. But after a steamy and unexpected encounter with a stranger he’s forced to face what most men fear: they don’t realize they’re in love until it’s too late.




In honor of Bob Dylan’s 70th birthday today,  East Village Radio is celebrating the occasion with six hours of special Dylan content. Tune in at 2 p.m., to hear Clash magazine editor Simon Harper presenting “Dylan A-Z”, a collection of Dylan songs for every letter of the alphabet. Then, at 4 p.m. Rolling Stone Contributing Editor Austin Scaggs will share his favorite Dylan bootlegs, and at 6 p.m. Chances With Wolves will play their favorite Dylan covers.  You can also listen to  some interviews from Don’t Look Back and some rare live performances. Listen live at Happy Birthday Bob!


Excerpt of Albert Grossman Don’t Look Back 1965 May 24
Bob Dylan and The Band You ain’t goin’ nowhere May 24
Beatles Interview May 24
Bob Dylan Must be Santa May 24
Excerpt of Bob Dylan Don’t Look Back 1966 May 24
Bob Dylan Maggie’s Farm LIVE at Newport Folk Festival 1965 May 24
Excerpt of Bob Dylan LIve at Manchester Free Trade Hall 1966 May 24
Bob Dylan Interview from No Direction Home May 24
Bob Dylan Just like a woman LIVE at Glasgow Barrowlands 2004 May 24
Bob Dylan Hurricane May 24
Bob Dylan Interview plus excerpt from No Direction Home May 24
Bob Dylan Idiot Wind May 24
Bob Dylan and Joan Baez Interview from No Direction Home May 24
Bob Dylan and Joan Baez Mama, you’ve been on my mind LIVE 1964 May 24
Keith Richards Interview May 24
Little Richard Slippin’ and slidin’ May 24
Mavis Staples Interview for Clash Magazine 2010 May 24
Bob Dylan Tonight I’ll be staying here with you May 24
Bob Dylan Thing have changed May 24
Bob Dylan and Pete Seeger Interview from 1962 May 24
Bob Dylan The lonesome death of Hattie Carroll LIVE Cabadian TV 1964 May 24
Bob Dylan Interview from Don’t look back 1965 May 24
Bob Dylan Gotta serve somebody May 24
Bob Dylan Sara May 24
Excerpt of Bob Dylan’s Theme Time Radio Hour: New York May 24
Bob Dylan All along the watchtower MTV Unplugged May 24
Bob Dylan Visions of Johanna May 24
Woody Guthrie Do re mi



“It all started with the idea of shooting spear hooks through this girls back, through her boobs, into her boyfriends hands.” That’s what ANR’s singer/ drummer, Michael John Hancock, told us was the premise for the bands new slasher film project.  We took the bait too.  So here it is, the music video edit of ANR’s slasher film based on “Big Problem” directed by Lucas Leyva, crewed by the fine folks at Borscht Film Festival, and starring a cast of Miami heroes.  It’s a 5 minute horror epic along the line of  Thriller. Check back with us for the extended 12 minute unrated short film version coming soon too.


Posted in discosalt, top story

We are creating an exciting new, interactive iPad Magazine app. for indie junkies to get their fix of the latest independent music, film, and art. Back our App on Kickstarter and be a part of our project.


After you back it up, then stop, what what what? drop it like its hot.


Each quarter we will bring you the very best of with exclusive feature articles not available on the web, plus reviews, interviews, new music, art and more.

We are currently raising funds to sustain discosalt magazine indefinitely, but, in the meantime, we are racing against the clock to bring you our first issue, SUMMER 2011. We need your help to do so.  Please take the time to learn more about discosalt by visiting our website, and reading below.

Help spread the word about our project and share with your friends!

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Two great shows coming up this week at Rooftopfilms. On Thursday, check out Sound of Noise, a maniacally funny Swedish comedy about a band of musical anarchists who break into banks, hospitals, and construction sites and perform guerilla style concerts using their surroundings as musical instruments. The film’s musicians and filmmakers will be at the show, facing off in a live, heavyweight drum battle that we hear has been brewing ever since they started shooting the film. Friday is “Dark ‘Toons,” the popular annual collection of enjoyable evil animation. This year’s batch will include a crazy quilt remix of Bill Plympton’s Oscar nominated short Guard Dog.

Show details below:

Thursday, May 19th


A clever and fiercely entertaining Swedish comedy about a group of “musical terrorists” who break into hospitals, banks, and other public places to play compositions using the surroundings as their instruments. The screening will feature a special live performance by the musicians from the film. Presented in partnership with MusicDoc Malmo.

Venue: On the pier at Solar One

2420 FDR Drive (E 23rd Street and the East River)

New York, NY 10010
Subway: R/6 to 23rd St., walk all the way east.

8:00PM        Doors Open

8:30PM        Live Music by Prylf

9:00PM        Film begins

10:30PM      Special LIVE Heavyweight Drum Battle between the Drummers and the Filmmakers!

10:45PM      After Party Onsite

Tickets and more info at:

Friday, May 20, 2011


Venue: On the pier at Solar One, 2420 FDR Drive (E 23rd Street and the East River

New York, NY 10010
Subway: R/6 to 23rd St., walk all the way east.

8:00 PM        Doors Open

8:30 PM        Live Music by Live Footage

9:00 PM        Films Begin

11:00 PM       After Party Onsite

Tickets and more info at:

The Films:

GUARD DOG GLOBAL JAM (Bill Plympton | New York, NY | 5 min.)
75 different artists combined their talents (and styles) for this crazy-quilt remake of an Oscar-nominated short.

THE HOLY CHICKEN OF LIFE AND MUSIC (Nomint | Greece | 3 min.)
A giant, two-headed chicken is the ultimate false god, in this jaw-droppingly surreal fantasy.

THE GLOAMING (Niko Nobrain | France | 14 min.)
The last man in his world creates new life that quickly spins out of his control – despite his efforts to play God. An allegory for the ages.

COSMIC JUNGLE (Marie Ayne, Martin Brunet, Alexander Casals, Sebastien DeOliveira Bispo, Fabrice Fiteni, Mathieu Garcia | France | 5 min.)
Two rambunctious mutts upset the order of a robot-run metropolis in this ultra-kinetic future fantasy.

THE REPLICANTS: USER (Edouardo Salier | France | 4 min.)
Old-school flipbook filmmaking – with an angst-rock soundtrack. Courtesy of Autour De Minuit.

TRIUMPH OF THE WILD (Martha Colburn | New York | 11 min.)
An exploration of the impulses that prompt hunting and the resiliency of people and animals in times of battle during 300 years of American history. [Sundance]

The drudgery of the stock clerk’s day is perfectly encapsulated, in this cheerfully wan vignette.

LGFUAD (Kelsey Stark | Brooklyn, NY | 4 min.)
Sex. Violence. Death. The interior life of the average, alienated suburban teen.

MOSKITO BRAVO (Emeline Chankamshu, Alexandre Cuegniet, Paul Serrell, Sarah Sutter, Henning Wagenbreth | France | 7 min.)
One dog-eat-dog world is just a speck on the surface of another – which in turn exists inside another. And so on, in a riot of color and ordered chaos.

ENRIQUE WRECKS THE WORLD (David Chai | San Jose, California | 4 min.)
One surly kid with a sling shot accidentally unleashes a cataclysmic chain reaction in this mordant imagining of a whoops apocalypse.




Pam Glew’s forthcoming show features icons from the Roaring 20s, from silent movies to the golden age of cinema. The next generation post-urban pop artist uses her signature style of dyeing and bleaching vintage materials to create poignant portraits of the beautiful and the damned.

‘Beautiful and Damned’, the shows title, is of course taken from F. Scott Fitzgerald’s 1922 novel, which explores the listless lives of moneyed society during the Jazz Age. This captivating era, drenched in glamour yet tinged with tragedy is the decadent setting for this extraordinary series of work.  The exquisitely beautiful movie starlets, society icons and characters on display capture the spirit of the age all who are caught in the unforgiving glare of the limelight and some sadly burn out before their time. As Pam states, “the tragedy amongst the beauty is what has inspired this show, the sharp contrast between a blessed life and one that ends in scandal, hedonism or destitution”.

For this latest series, the artist uses found materials from the same period. This is the first time she has incorporated antiques into her work. Each piece is deconstructed, dyed, and repeatedly bleached until a portrait emerges from the cloth. Rather than add pigment, Glew takes away the pigments in layers, creating ghostly figures, which appear almost woven into the cloth. This technique, mastered by the artist, can also be seen in the ‘Flag’ series and ‘Circus’ series, these prolific luminaries’ faded portraits are not only responsive to the vulnerability of the characters but are also loaded with connotations of the fragility of all human life and the transcendent nature of all our lives. However, in this new body of work Glew explores colour and pattern as a contemporary re-invention of found materials. The vintage materials and antique techniques used, such as crewelwork, further highlight and bring to the surface the precious and tenuous lives of the characters featured.

Household names of the time feature in this ever so evocative exhibition, such as world famous vaudeville performer Josephine Baker, sultry screen goddess Marlene Dietrich and the pioneering aviators of the time Amelia Earhart the first female pilot to fly solo over the Atlantic, who went missing attempting to fly around the world and Charles ’Lucky Lindy’ Lindberg, whose child was notoriously kidnapped and murdered in the ‘Crime of the century’. These highly iconic figures, each with their own personal distressing life stories, represent the true spirit of the age.

Glew acknowledges the influence of some of the great Pop artists like Johns and Warhol while we also see a nod to women’s installation art and post-modern film theory allowing her to comment on contemporary society in a more poetic and subtle way than we usually see in the urban scene.  Her gentle and feminine approach to a sensitive subject matter could be the reason why she has been picked up by the likes of the actress of the moment

– Gemma Arterton.




Yuck and Tame Impala played a sold out show at Webster Hall on Monday 25.4.11.

For a band that formed only a little over a year ago, the London/Hiroshima/ New Jersey foursome, Yuck are quickly becoming one of the best new bands out there.  They might sound like they belong in the early 90’s but they are one of the more technically gifted guitar acts to tour in a long time, and prove themselves to be more than mere “Nineties revivalists” in concert. Drawing obvious inspiration from grunge and shoegaze bands from over a decade ago, they somehow manage to sound all their own, frontman Daniel Bloomburg channeling a bit of a young Dylan-esc stage swagger on a raw version of  “Georgia”, and the band showing a more melancholy dreamlike side on “Suicide Policeman”. Substance o

If you haven’t seen Yuck live yet, there are still Tickets available for their  Headline show at Bowery Ballroom on May 27th or you can head over and catch them play a free in-store at Other Music TONIGHT.

Aussie musical ensemble Tame Impala took the stage last and is a beast. Their 70 minute psychedelic hypno-groove melodic rock performance was packed with enough emotion and atmosphere to keep your head swirling around like the light show they project behind them.  With 9 flat screen monitors featuring a psychedelic light show rigged up to their guitars, the band tightly ripped through the entire Innerspeaker album, some lesser known tracks off their debut EP and even covered “Angel” by Massive Attack!  Check out the full setlist and some pictures from the whole show, below:

Tame Impala



Brooklyn musical duo New Numbers have a new Midnight Cowboy inspired music video, directed by Matt Collison  for “Talk About Yourself”, which is premiering right here on Discosalt! The track comes off their self-released debut full length album Vacationland, released on their own label Musiques Primitives.  As an added treat… to go along with the release of the video, the band is  giving their album away FREE all month.  Just click HERE for a direct download.

And to catch the band live, come out and support them this Friday night at The Rock Shop in Park Slope with Hawk and Dove and Kleenex Girl Wonder, 10pm sharp!  Check out a video flyer below and we’ll see you at the show:








French MC, Uffie has paired up the legendary DJ Mehdi to record a cover of the 1981Tom Tom Club hipster dance classic “Wordy Rappinghood” for evian’s new campaign.

Following up evian’s Roller Babies campaign, the evian babies are back in this new Live young campaign but this time around, the evian babies have hung up their skates and are dancing their way back into pop culture to Uffies catchy cover. You have a chance to be part of the campaign which will be released on the web at and with just a few clicks you can become actors in the video and grab your own four frames of fame.

You can also download ‘Wordy Rappinghood’ from iTunes HERE


Moon Duo, the soulfully noisy psychedelic space-rock side-project from Wooden Shjips guitarist Erik Johnson and keyboardist Sanae Yamad, have a new single and a new video for “Mazes”.  Like so many other great artists from Bowie to Liars, the duo transplaned their recording process to Berlin for this album. But, while you might expect a more darker sound, “Mazes” surprisingly moves the band towards a more accessible pop-driven sound, which works in their favor. Watch the video for “Mazes” directed by band-mate Sanae Yamada right here: