Born in New York, The Bicycle Film Festival has evolved hand in hand with the unprecedented boom in urban cycling internationally. From its roots in New York City, The BFF has grown into a multi-faceted, global event 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. Watch above as Discosalt goes inside The Bicycle Film Festival’s headquarters in New York with its creator Brendt Barbur.
Shut Up And Play The Hits, a new documentary from Will Lovelace and Dylan Southern, follows LCD Soundsystem front man James Murphy over a 48-hour period, from the day of their massive “farewell” show at Madison Square Garden on April 2nd, 2011, to the morning after the show. The film is screening at the Sundance Festival later this month. Watch the trailer above.
Watch the first trailer of upcoming Wes Anderson ensemble film Moonrise Kingdom, starring Bruce Willis, Edward Norton, Bill Murray, Frances McDorman, Jason Schwartzman and Tilda Swinton. Set in the sixties, Moonrise Kingdom was filmed in New England and co-written with Darjeeling co-writer Roman Coppola.
“Set on an island off the coast of New England in the summer of 1965, MOONRISE KINGDOM tells the story of two twelve-year-olds who fall in love, make a secret pact, and run away together into the wilderness. As various authorities try to hunt them down, a violent storm is brewing off-shore — and the peaceful island community is turned upside down in more ways than anyone can handle. Bruce Willis plays the local sheriff. Edward Norton is a Khaki Scout troop leader. Bill Murray and Frances McDormand portray the young girl’s parents. The cast also includes Tilda Swinton, Jason Schwartzman, and Jared Gilman and Kara Hayward as the boy and girl.” [Apple Trailers]
3 guys, 44 days, 11 countries, 18 flights, 38 thousand miles, an exploding volcano, 2 cameras and almost a terabyte of footage…
Director Rick Meriki spent last summer making this compelling one-minute video called “Move” with two of his pals as they traveled to 11 countries over 44 days, walking through a dazzling variety of cultures, locations and images. The film was part of a three-film series of short subjects commissioned by STA Travel Australia, based on the concepts of movement, learning and food. Jealous? You have to watch this a few times just to absorb it all.
In 2005, music producer Hal Wilner staged an all-star tribute concert in Australia in which a handful of major artists offered their interpretations of Cohen’s songs, including Nick Cave, Jarvis Cocker of Pulp, Rufus Wainwright, Beth Orton, Kate and Anna McGarrigle, and many more. This documentary offers an intimate look at the songs, poetry and life of the influential troubadour, Leonard Cohen.
Watch full film HERE
Kurt & Courtney is a 1998 documentary film by Nick Broomfield investigating the circumstances surrounding the death of Kurt Cobain, and allegations of Courtney Love’s involvement in it. The film concludes that there is enough evidence to prove that Cobain was murdered with Courtney’s approval.
Watch the full film HERE
B.I.K.E is a film that explores the Black Label Bicycle Club and the wider tallbike subculture that has grown up around it. Comprised mainly of artists driven by anti-materialism and a belief that the impending apocalypse will render cars useless and bicycles in power, BLBC battles mainstream consumer culture and rival gangs for its vision of a better tomorrow. The film chronicles the trials of co-director Anthony Howard as he tries to become a member of the club.
Watch the full movie HERE
Voted the #1 Best Music Video of 2011, Top 10 video for 2011 by Huffington Post & Fasterlouder, “Rippled” a short animation directed by Darcy Prendergast, with the Australian studio Oh Yeah Wow features the music of All India Radio- The Silent Surf and took over 6 months to film. Painstakingly animated frame by frame, the piece is all shot in camera, by real people, in the real world, using long exposure techniques.
PROM NIGHT was the official selection at SXSW 2011 and Rooftop Film Festival 2011. New York based film-maker Celia Rowlson Hall and Jae Song examine the cultural trappings of the American prom taking the viewer through a series of archetypal female prom dates in this narrative short – described by SXSW as: ritual, disco balls, expectation, corsages, dresses, holding, sweating, status, entering in twos, balloons, school gyms, dancing slow and fast.
When a gang of suburban teens stumbled across a bunch of abandoned instruments and formed The Fleshtones little did they know that 30 years later they’ll still be struggling to rock – and pay the bills.
Watch the full film HERE.
Finally, the crowd-sourced project has been stitched together and put online for your streaming pleasure. The “Director’s Cut” is a feature-length film that contains hand-picked scenes from the entire StarWarsUncut.com collection.
In 2009, thousands of Internet users were asked to remake “Star Wars: A New Hope” into a fan film, 15 seconds at a time. Contributors were allowed to recreate scenes from Star Wars however they wanted. Within just a few months SWU grew into a wild success. The creativity that poured into the project was unimaginable.
SWU has been featured in documentaries, news features and conferences around the world for its unique appeal. In 2010 we won a Primetime Emmy for Outstanding Creative Achievement In Interactive Media.
We can’t thank everyone enough for making this such a special project.
Also available on YouTube:
Two weeks ago, The Vaccines released an official new video for the band’s latest track “Tiger Blood”, recorded with Albert Hammond Jr. of the Strokes and Gus Oberg. Today Columbia Records is releasing a Digital 45 for the track along with a b-side, “Tuck and Roll,” to listen:
Paper Tusk is the work of Patrick Everman’s project Bronson (formerly behind HORSES). With only a $3.00 price tag, Paper Tusk, is the perfect stocking stuffer for that sad sack on your list. Recorded in a cold cathedral outside Anacortes, Paper Tusk envelopes romantic lamentation at its peak. The album is available for pre-order on cassette (yes, cassette), CD, or digitally here. You can download the track “My Idle Bed” below:
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 Adore. With 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.
MP3: “Loveliest Creature” (Lightwaves Remix) – Savoir Adore [exclusive]
The new Metronomy EP Everything Goes My Way drops today (12/6) via Big Beat and Because Music. In anticipation for their upcoming Spring tour, the EP features the original single off their album “The English Riviera”, plus four new remixes including the below by Enchante. Feel free to share, after all – ’tis the season…
The Black Keys, once again, manage to keep on keeping on, only more so, with their new full length album El Camino. Oiling up their gritty back-to-basics blues engine with some new sonic lube worthy of classic rock torque, El Camino promises to be yet another soulful modern exploration of traditional blues rock themes, gunning down broken dreams and witchy women with a raw intensity uniquely The Black Keys. While the album doesnt officially drop until December 6th, you can stream three new songs- “Gold on the Ceiling”, “Little Black Submarines”, and “Sister”, in addition to “Lonely Boy” and “Run Right Back” right on the bands website. A fair trade for an email address.
Tomorrow, November 29, Jagjaguwar is releasing a deluxe edition of Bon Iver‘s album Bon Iver on iTunes, with a limited edition DVD coming in early December. As a special treat, you can watch a sneak preview of, one of the track-by-track short film accompaniments, that will be included in the package. Isaac Gale and David Jenson direct this warm, glowing video for the track “Hinnom, TX”; an atmospheric synth-pop ballad, which finds Justin Vernon dreaming of a burial place for strangers near Jerusalem, and relocating the bodies to the heart of the Texas desert. But for a song about burying strangers, this is also a song about buying the stranger within yourself and starting anew; as much about the end of life, as it is about the beginning.
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: http://www.thevaccines.co.uk 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?
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?
VINCENT MOON:I have a background in photography, so that was my first approach to images. When I was seventeen I started working with my friend Raymond Depardon, a very good photographer and a contemporary artist. I was impressed by him. I wanted to be like him, taking risks and being adventurous. For five to six years I went to every concert and movie in Paris and trained myself. Then I started shooting.
VM: From the beginning my relationship with music was always organic. Shooting musicians, capturing the images, to me, means dancing and catching the rhythms. After being a photographer for years and trying to figure out what I really wanted to do, I started working with Chryde on La Blogotheque Project. That’s how “Take-Away Show” concept was born. But working on “Petites Planets” and shooting musicians in suburban areas is more interesting for me now.
VM:I started the project with Chryde but we couldn’t get along. I was the director and he was the producer and he couldn’t take that. That’s why I stopped working with them. They sometimes still publish my videos; mostly the more “indie rock” ones.
DS: You’ve been travelling and shooting different musicians from all genres for the past 11 years. How do you finance yourself when you don’t have a sponsor?
VM: Actually you are asking me if it’s better to travel and get to know different cultures, or stay in Paris shooting musicians around twenty to tweny-five years old and take place on Pitchfork. If I stayed in Paris I would keep doing the same things and I wouldn’t be able to improve myself. That’s why I’ve been travelling and learning about different cultures. I earned very little money over all the films I’ve made. However, this is my choice. It’s a “life style”. I choose to struggle, but live freely, rather than eating and drinking in luxurious restaurants. My life style is more interesting compared to the stable life-style. I have a website and people can make donations through it. Other than that, when somebody wants me to shoot a project, they pay my flight ticket and my living cost.
DS: You don’t sign contracts but would you work for a sponsored job some day?
VM: No, I don’t think so. I want to be free and to do that, I have to be contract-free.
DS: How do you decide which country you will visit next?
VM: Most of time a friend of mine offers me a project and that decides which country I will visit next. My friend Stefan told me about this project taking place in The Black Sea. He offered me a plane ticket and my food & beverage costs for the project. So, I accepted his offer,and here I am in Turkey. Most of the time, I wait to travel until someone comes up with a project, because I can’t afford the plane ticket fare.
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?
Part one (Day) of a two part short film series, shot in August/ September 2011, provides a short glimpse into the “Burning Man” experience. Shot entirely with a (very dusty) Canon 7D with 70-200 f.40L, a 50mm 1.8, and a 10-24mm Tamron and using music from “Layers of Generation Without Number” by Bichi. Part Two (Night) coming soon…
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. >>>
NO SHAVE NOVEMBER ESSAY WRITING CONTEST:
Whatever you call the Stache, Tache, Tash, Mo, Mouth Brow, Lady Tickler, Trash Stash, Crumb Catcher, Fanny Duster, Push-broom, Nose Bug, Cheech or the Selleck Sidekick, November is a month to celebrate the Nose Neighbor, in whatever way you see fit. This month discosalt Magazine salutes the mustache in music, essays and photography. You can find it all, in the Fall issue of discosalt Magazine , along with exclusive access to the top two winning No Shave November Essay Contest submissions.
For some more “No Shave November Essay Contest” submissions, just scroll below.
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.
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.
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.
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.
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.
VOL.01, ISSUE 02: NEW YOUTH ISSUE
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.
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?
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.
Official video for “Work” by scruffy Northern Wales rockers WE // ARE // ANIMAL. Directed by Cyrus Mirza & Nic Booth, the video delivers a “slice of taut, jerky backwoods dance punk, topped with wheezy synths and some fantastically recorded guitars that sound like orchestra hits…This is all slathered over by a base of snapping, disco seasoned drums and percussion with a thick, rich bass sound bringing it all together”.
Download the track HERE.
Last night at the NYU Skirball Center for Performing Arts, Academy-Award winning filmmaker (and DOC NYC advisory boardmember) Michael Moore, whose films ‘Fahrenheit 9/11,’ ‘Capitalism: A Love Story,’ ‘Bowling for Columbine’ and ‘SiCKO’ are among the top ten grossing documentaries of all-time, moderated a casual but thought provoking discussion with filmmaker Jon Shenk (Lost Boys of Sudan) after the screening of Shenk’s new film, The Island President.
With stunning cinematography and an emotional soundtrack by Radiohead, the film tells the story of globe-trotting President Mohamed Nasheed of the Maldives, a man confronting a problem greater than any other world leader has ever faced– the literal survival of his country and everyone in it.
The archipelago nation of the Maldives, off India’s coast, looks like a Waterworld paradise. But the country risks becoming submerged underwater before the end of the century, unless climate change is reversed. That sets a clear mission for the charismatic, passionate, unfettered and sometimes scrappy President Nasheed, who fought a dictatorship for twenty years to be elected at age 41. Nasheed is still fighting, only now, to bring climate change awareness to the World in more imaginative and creative ways – Nasheed made World headlines in 2009, holding the world’s first subaqueous cabinet meeting. Jon Shenk follows Nasheed in his first year in office as he strategizes to keep his threatened homeland at breathing level, while lobbying other countries to help.
The Island President is a well deserved, recent recipient of the Toronto International Film Festival’s People’s Choice Documentary Award.
THE GAME OF THINGS
“As I stared up into the bright blue sky that was near the end of what felt like a trillion years, I was visited by a horrible sense of claustrophobia. A claustrophobia that sets in only when no space is great enough to contain you. Cause you have all this stuff inside you that refuses to leave. All those useless stupid things from the past.”
… a female voice whispers in the beginning of the film.
Things talk relationships. This is the premise for THE GAME OF THINGS, Cristian Straub’s latest fashion short film for German fashion label Ethel Vaughn. A woman is haunted by her past, by things and moments she once shared with someone. As the film unfolds we get a grasp of the romantic relationship that is no more. The woman is determined to clean up her life – by setting all the “useless, stupid things” from the past on fire. In the meantime, a mysterious rider appears. And it looks like he’s up to no good…
Once again, director Cristian Straub was joined by director of photography Jakob Suess in his journey for new forms of visual expression. Heavily inspired by the cinema of the late 60s & early 70s (like Nicolas Roeg’s “Don’t look now” or Polanski’s “The Tenant”), they crafted a film that emanates not only the aesthetic feel, but also embraces the courageous spirit and the cinematic curiosity of that particular era in film history.
For THE GAME OF THINGS Fashion Film House Riese Farbaute teamed with Metrosafari Locations, both aiming to set new standards in forward thinking fashion film productions.
Tracklist Within is the debut album from Swedish rock band New Rose. For a band originally rooted as a free jazz duo, the now trio, comprised of rogue Scandinavian indie scenesters Daniel Bengtson, Niklas Korssell & Gustav Nygren, has since morphed into an ambitious rock band. With fragile, emotional vocals and noisy whirling guitar riffs, the new album is at times reminiscent of Patti Smith, Peter Brötzmann and Sonic Youth with echoes of early …And You Will Know Us By The Trail Of Dead.
The album is available on the Flora & Fauna label