A Look Inside the Bicycle Film Festival with Brendt Barbur

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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.

New LCD Soundsystem Documentary : Shut Up, And Play the Hits

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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.

Moonrise Kingdom – Official Trailer

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Watch the first trailer of upcoming Wes Anderson ensemble film Moonrise Kingdomstarring 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]


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.

Watch – Move : 11 Countries in 1 Minute

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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.

Watch – Leonard Cohen : I’m Your Man

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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

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Watch – Kurt and Courtney : A Film by Nick Broomfield

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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

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Watch – B.I.K.E.

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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

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Discosalt Best Albums of 2011

Now that it’s 2012, here is a look back at the past year in music. We’ve rounded up the usual suspects, sat back, reflected and squared in with discosalt Magazine’s “top 10” best albums of 2011.



Watch – Rippled : Light Painting Animation

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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.

Watch – SXSW Midnight Feature : Prom Night

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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.

Watch – Pardon Us For Living But The Graveyard Is Full

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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.

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Watch – Star Wars Uncut : Director’s Cut

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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.

Many thanks to Aaron Valdez (video editor – aaronvaldez.com) and Bryan Pugh (sound design/mixing –pughtube.com) for the countless hours they put into this masterpiece.

The Story:

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:

“Tiger Blood” (Single) | Available Now by The Vaccines

The band are currently on tour in Europe through the end of the year. Their debut release “What Did You Expect from The Vaccines?” has notably garnered some year end attention with NME naming the album their # 14 favorite album of the year and Paste Magazine calling the act a “Best New Band of 2011.”


Paper Tusk is the work of Patrick Everman’s project Bronson (formerly behind HORSES). With only a $3.00 price tagPaper 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: 

MP3: Bronson – My Idle Bed 




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]



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…

[soundcloud url=”http://api.soundcloud.com/tracks/29826176″]


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. 

Watch – Bon Iver : Deluxe Edition with Track-By-Track Film

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?
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


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Vincent Moon (real name Mathieu Saura), is the prolific independent film maker behind “Take-Away Show”, a series of recording sessions published for La Blogothèque. Since 2006, Vincent Moon has recorded with REM, Arcade Fire, Beirut, The National, Sigur Ros, Phoenix, and just about every indie band in between. He lives a simple life, traveling around the world shooting musicians, experimenting with images and sounds in an attempt to re-define the limits of nomadic cinema in the 21st century. His most recent project, “Petites Planetes”, chronicles these adventures. We envy him most, perhaps, because he is free.
DISCOSALT: Your shooting style is so unique. It really takes “guerilla film-making” to an entirely new level, we rarely see in music videos. How did you first get involved in film?
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.
DS: How did the concept for “Take-Away show” and “Petites Planets” come about?
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.
DS: There are a lot of people who think you are the real force behind “La Blogotheque”.  Does the crew of La Blogotheque ever get upset or jealous by that?
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: As far as we know, you work on your own. Does that ever become difficult?
VM: Of course it is. But the main point is to struggle. I succeeded in the last two and a half years and many people around the world are looking forward to working with me and sponsoring me. However, it’s impossible for me. I don’t want to produce something for money.

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: How do you decide which artist you will shoot?


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?


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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…

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. >>>


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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.  

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

For some more “No Shave November Essay Contest” submissions, just scroll below.









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

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

Director Tristan Patterson discusses his new film Dragonslayer

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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


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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?

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.


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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.


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“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

The Wheel by New Rose by Heavy Horn

The Sun is a Star by New Rose by Heavy Horn

Sleeping Slides by New Rose by Heavy Horn


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Video games are more important than they seem. They are a storytelling medium, a place for self-expression. The age-old tradition of gaming teaches us strategy, maneuvering, and the importance of making choices. From the cinematic experiences of mainstream gaming, to the hyper-personal environments of indie games, gaming activity defines the way we live and interact with information, and each other.


Eric Zimmerman, Game Designer
Jesper Juul, Game Studies Scholar
Leigh Alexander, Game Journalist
Syed Salahuddin, Game Designer and Curator

Music by:

4mat, freemusicarchive.org/​music/​4mat/​
The Shortsleeves, theshortsleeves.bandcamp.com/​
Trash80, trash80.net/​


[photo: Cory Greenwell]

 at OneThirtyBPM reviews Jeff Mangum Live October 29th, 2011 at Town Hall in New York.
Years ago when I began diving into the world of indie rock, I ruled out the possibility of ever seeing Neutral Milk Hotel or the reclusive Jeff Mangum — in any form — perform live. In the Aeroplane Over the Sea would be seen by many as the “crowning gem” of the genre and since the band’s breakup, Mangum had been as elusive a figure as any, only showing his face at Elephant 6 reunions at random.

In recent years, however, Mangum began poking his head out of his shell, first by playing Neutral Milk Hotel songs at others’ shows, to playing full sets unannounced, to playing ATP and embarking on a small tour of his own. About two weeks ago he even stopped by Zuccotti Park for a brief performance at Occupy Wall Street. Naturally, after missing him at ATP, I had to catch him in New York.

I trekked out into the snowy New York night (the first pre-Halloween snowfall since 1958!) and made it to New York City’s Town Hall theater just off of Times Square. The Town Hall hosts a wide array of events including Broadway shows, choirs, orchestras, jazz bands, comedians — hell, you can even catch Rush Limbaugh there at the end of the month (I implore you not to). And while the venue often does do acoustic shows like this, I didn’t really expect to be seated for this momentous occasion.

Opening for Mangum was Ólöf Arnalds, an Icelandic singer-songwriter, who alternated between guitars and a ukulele-like charango. She performed in both English and Icelandic, bantering with the audience throughout her songs as she plucked her strings and arpeggiated her chords before entering into the next verse. The 35-minute set was certainly soothing, and truly showcased Arnalds’ talents — especially her closing: a mic-less, a cappella version of an Irish folk tune — but I couldn’t help but feel anxious throughout the whole set, eagerly anticipating what was to follow.

Mangum soon appeared on stage and the entire theater erupted in applause. Then — absolute silence as he opened up with Aeroplane‘s closer “Two-Headed Boy Pt. Two.” Perhaps it was out of awe, or maybe it was just he nature of the venue, but for his first three songs (“In the Aeroplane Over the Sea,” “Song Against Sex”) there was complete silence except for applause between songs. Mangum commented, “You don’t have to be so quiet,” and went into “Gardenhead” as the cheers began.

Next was the eight-minute epic, “Oh Comely,” which yet again brought the crowd to silence as Mangum clenched his eyes shut and bellowed through the darkness of the theater, going the extra mile by holding notes before carrying into the final section of the song.

After another solemn number, “I Love the Living You” (a Roky Erickson cover), Mangum returned to Aeroplane again with “Ghost.” The silence had become prevalent again, leading Mangum to engage the audience to get them to make some noise: “Now fucking sing!”

The cheering and banter from there on continued, with the audience’s singing becoming more and more amplified as Mangum played through all parts of “The King of Carrot Flowers” without break, and climaxed with his last song of the set, “Holland, 1945.” As he played those opening chords the room suddenly came alive; it seemed as if ever single person in attendance knew all the words as was singing along. It was truly an enthralling moment.

After a standing ovation, Mangum returned with “Two-Headed Boy Pt. One” and b-side “Engine” before taking off into the night, leaving the audience standing and cheering for a good five minutes before they were disappointed by the sight of tech crew taking his set-up apart.

Although the audience lulled at times, Mangum put on a fantastic performance and managed to get us all roaring together to make for a truly ghostly experience. Despite this all — and it pains me to say it — Mangum’s “dee-dees” will never compare to Scott Spillane’s trumpet work, and however great the songs stood on their own, a full-backed band performing them would be worlds apart. Unfortunately, I don’t think a full reunion will ever happen.

Hopefully I’ll be eating my words in a year or two’s time.

Two-Headed Boy Pt. Two
In the Aeroplane Over the Sea
Song Against Sex
Gardenhead / Leave Me Alone
Oh Comely
I Love the Living You (Roky Erickson cover)
A Baby for Pree
The King of Carrot Flowers Pt. One
The King of Carrot Flowers Pts. Two & Three
Holland, 1945

Two-Headed Boy Pt. One






[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


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4 Trick ‘r Treat rules directed by Zach Shields of Dead Man’s Bones (Ryan Gosling’s band) with music by Chromatics “Dagger Moon”. You can watch the All Day ‘Trick r Treat’ Marathon on 10/31. on FEARnet.  Happy Halloween!







The Black Key’s first new single “Lonely Boy” off the forthcoming album El Camino is out today. The album co-produced by the Black Keys and Danger Mouse, officially hits stores Dec. 6th but on November 25th, as part of Record Store Day’s Black Friday series, it will be released on 12″ viny. As a bonus, if you pre-order the album today to get an instant download of Lonely Boy. Preview the track through the band’s new viral video . Pretty sure this guy stole my dance. 


Montreal’s Stars have partnered with IFC to premiere the music video for “Dead Hearts.” In addition to appearing on 2010’s The Five Ghosts, the song is slated for release on the soundtrack for upcoming film Like Crazy – the 2011 winner of Best Picture at the Sundance Film Festival.

The band worked with renowned Canadian street artist Roadsworth to conceptualize and create the heart imagery in the video. To honor his work, the band is asking fans to draw inspiration from Roadsworth’s vision to create their own “dead hearts.” Using iPhone app, Instagram, fans will submit photos tagged with #deadhearts in order to enter their photo to be used in a companion video. For more information, visit the band’s Facebook page.


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Come check out the DRAGONSLAYER  premiere party at Public Assembly w/ Psychic Ills and Endless Boogie w/ DJ Steve Lowenthal Nov 1. at 8pm FREE! If that’s not enough to wet your beak, there are free PBR from 9pm-10pm!  DRAGONSLAYER opens at Cinema Village on November 4 and be sure to get your hands on a copy of the November issue of discosalt Magazine to read our full interview with Dragonslayer director Tristan Patterson. 

Directed by Tristan Patterson and executive produced by indie-maverick Christine Vachon, Dragonslayer is the Grand Jury Prize Winner for Best Documentary at SXSW 2011 and the second feature film to be released theatrically by Drag City Records following Harmony Korine’s Trash Humpers. An intimate vérité portrait of the life and times of Josh “Skreech” Sandoval, a 23-year-old skate legend from the stagnant suburbs of Fullerton California, Dragonslayer takes the viewer through a golden SoCal haze of lost youth, broken homes and abandoned swimming pools, set to a soundtrack of bands from indie-rock labels Mexican Summer and Kemado Records – including Best Coast, Bipolar Bear, Children, Dungen, Jacuzzi Boys, Little Girls and The Soft Pack – as well as Death and Thee Oh Sees.



M83 has released an official video for “Midnight City”the first single from Hurry Up, We’re Dreaming. Directed by Fleur & Manu and Produced by DIVISION, “Midnight City” is the soundtrack for a pack of gifted kids with telekinetic powers who escape from an institution to be free and run wild on the outskirts of LA. Having recently relocated to Los Angeles, the video reflects Anthony’s ongoing love affair with the magical escapism of film and the city itself.


Oct. 15 – Mexico City – Corona Capital Festival

Oct. 28 – Washington DC – Black Cat (early show) (Sold Out)

Oct. 28 – Washington DC – Black Cat (late show) (Sold Out)

Oct. 29 – Raleigh, NC – Kings Barcade (Sold Out)

Oct. 30 – Asheville, NC – Moog Fest

Oct. 31 – Atlanta, GA – Masquerade

Nov. 1 – Tallahassee, FL – Engine Room

Nov. 2 – Orlando, FL – The Beacham Theatre (venue change)

Nov. 4 – Houston, TX – Warehouse Live

Nov. 5 – Austin, TX – Fun Fun Fun Fest

Nov. 7 – Phoenix, AZ – The Crescent Ballroom

Nov. 9 – Los Angeles, CA – Music Box (Sold Out)

Nov. 10 – San Francisco, CA – Mezzanine (Sold Out)

Nov. 11 – Portland, OR – Wonder Ballroom

Nov. 12 – Vancouver, BC – Venue (Sold Out)

Nov. 13 – Seattle, WA – Neumos (early show) (Sold Out)

Nov. 13 – Seattle, WA – Neumos (late show)

Nov. 16 – Minneapolis, MN – First Avenue

Nov. 17 – Chicago, IL – Lincoln Hall (early show) (Sold Out)

Nov. 17 – Chicago, IL – Lincoln Hall (late show) (Sold Out)

Nov. 18 – Toronto, ON – Lees Palace (Sold Out)

Nov. 19 – Montreal, QC – Le S.A.T.

Nov. 20 – Boston, MA – House of Blues

Nov. 22 – New York, NY – Webster Hall (Sold Out)

Nov. 23 – Brooklyn, NY – Music Hall Of Williamsburg (Sold Out)





THE LEMONHEADS announce an additional 50 U.S. tour dates in early 2012.
The Evan Dando-led three piece will be performing their classic 1992 album, IT’S A SHAME ABOUT RAY, from beginning to end.  Joining Dando on this tour will be guitarist Josh Lattanzi  (The Candles) and drummer Brian Nolan (American Hi-Fi).
It’s A Shame About Ray was released in 1992 and was The Lemonheads’ second album for Atlantic Records. The album featured the trio – Evan Dando (guitar, vocals), David Ryan (drums) and Juliana Hatfield (bass, backing vocals) – breezing through 12 songs in just under 30 minutes, including the title track, “My Drug Buddy,” “The Turnpike Down” and the cultural touchstone, “Alison’s Starting To Happen.”
On February 7, 2012, The Lemonheads will also release Hotel Sessions on Hall of Records/Breath of Saltwater – an intimate recording documenting a Sunday night that Evan Dando spent recording new songs with just an acoustic guitar (and some revealing commentary) in a hotel room in Bondi Beach, Australia. The 14 songs include some that never made it to an official Lemonheads album, but Dando says, “the “Into Your Arms” I did here is better than the one on the album (I like it anyway).”
THE LEMONHEADS upcoming shows:
10/21 – Chicago, IL @ Double Door
10/22 – Minneapolis, MN @ First Avenue
10/24 – Denver, CO @ Marquis Theatre
10/25 – Salt Lake City, UT @ Urban Lounge
10/27 – Los Angeles, CA @ El Rey Theatre
10/28 – San Juan Capistrano, CA @ Coach House
10/29 – San Diego, CA @ Soda Bar
10/30 – San Francisco, CA @ The Independent
10/31 – Santa Clara, CA @ The Avalon
11/03 – Portland, OR @ Mississippi Studios
11/04 – Vancouver, BC @ Biltmore Cabaret
11/05 – Seattle, WA @ The Triple Door
11/06 – Bellingham, WA @ Wild Buffalo House of Music
11/30 – Portsmouth @ Wedgwood Rooms
12/01 – Nottingham @ Rescue Rooms
12/02 – Leeds @ Leeds University Student Union
12/04 – Newcastle @ Cluny
12/05 – Glasgow @ Oran Mor Auditorium
12/06 – Manchester @ Ritz
12/07 – Liverpool @ Academy 2
12/08 – Sheffield @ Plug
12/10 – Birmingham @ Academy 2
12/11 – Cambridge @ The Junction
12/12 – London @ Shepherds Bush Empire
12/13 – Brighton @ Concorde 2
2012 US TOUR
01/10 – Brooklyn, NY @ Knitting Factory
01/11 – Brooklyn, NY @ Knitting Factory
01/12 – Clifton Park, NY @ Northern Lights
01/13 – Uncasville, CT @ Mohegan Sun Casino – Wolf Den
01/14 – Buffalo, NY @ Town Ballroom
01/16 – Pittsburgh, PA @ Stage AE
01/17 – Toledo, OH @ Frankie’s
01/19 – Grand Rapids, MI @ The Intersection
01/20 – Indianapolis, IN @ The Vogue
01/21 – Milwaukee, WI @ Turner Hall Ballroom
01/22 – Madison, WI @ The High Noon Saloon
01/24 – Des Moines, IA @ Vaudeville Mews
01/26 – Omaha, NE @ The Waiting Room
01/27 – Lawrence, KS @ Granada
01/28 – St. Louis, MO @ Old Rock House
01/29 – Fayetteville, AR @ George’s Majestic Lounge
01/30 – Oklahoma City, OK @ The Conservatory
02/01 – Colorado Springs, CO @ The Black Sheep
02/02 – Aspen, CO @ Belly Up Aspen
02/03 – Boulder, CO @ Fox Theatre
02/04 – Albuquerque, NM @ Launch Pad
02/06 – Phoenix, AZ @ Rhythm Room
02/07 – Tucson, AZ @ Plush
02/09 – Dallas, TX @ The Door
02/10 – Houston, TX @ Fitzgerald’s
02/11 – Austin, TX @ Mohawk
02/12 – San Antonio, TX @ White Rabbit
02/14 – Baton Rouge, LA @ Spanish Moon
02/15 – New Orleans, LA @ One Eyed Jacks
02/16 – Oxford, MS @ Proud Larry’s
02/17 – Birmingham, AL @ BottleTree
02/18 – Pensacola, FL @ Vinyl Music Hall
02/20 – Tallahassee, FL @ Club Downunder
02/22 – Gainesville, FL @ Double Down Live
02/23 – Orlando, FL @ Hard Rock Live
02/24 – Tampa, FL @ Crowbar
02/25 – Jacksonville, FL @ Jack Rabbits
02/27 – Atlanta, GA @ The Earl
02/28 – Athens, GA @ 40 Watt Club
02/29 – Greenville, SC @ Handlebar
03/02 – Greensboro, NC @ Blind Tiger
03/03 – Knoxville, TN @ Bijou Theatre
03/04 – Asheville, NC @ The Orange Peel
03/05 – Louisville, KY @ Headliner’s Music Hall
03/06 – Columbus, OH @ The Basement
03/09 – Richmond, VA @ The Canal Club
03/10 – Baltimore, MD @ The Ottobar
03/11 – New Hope, PA @ New HopeWinery
03/13 – Hoboken, NJ @ Maxwell’s
03/14 – Hoboken, NJ @ Maxwell’s


Mysterious 80’s synth lord Teeel wrote a bunch of songs back in 2008 under the alias “mimeo”.  The album is an exploration into creating electronic music. At the time, he was still learning about synthesis and using different techniques to compose music, hence the name “the experiment”.  You’ll hear hints of TEEEL mixed with downtempo and chill electronica. Enjoy this free download. [DOWNLOAD]

Highlights from The Creators Project 2011

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Day 1 of a two day Creators Project affair invaded DUMBO yesterday, with 4 locations along the waterfront and a number household and soon to be household names, it was, in this review’s mind, an unabashed success. That said, it wasn’t without glitches; a prematurely printed schedule booklet failing to reflect accurate set times, a number of recalled rsvp confirmations, and most unfortunately of all, a prematurely shut-down Justice DJ set (that they performed without their iconic cross platform). On a grander scale however, these “glitches” were minor when juxtaposed against the grandeur of the days events at large. We were fortunate to catch Chairlift, Yuksek, Atlast Sound, Florence + the Machine, and finally, Justice.




Atlas Sound

Florence + The Machine



DISCOSALT: Hi there! It’s been such a long time for me, since I first saw you guys. It’s great to finally meet you!

Dan: Which festival was that?

DS: It was Eurosonic Noorderslag festival in Holland.

Olivia: In Amsterdam?

DS: No, It was in Groningen. Nice festival but it was quite cold at that time. You were touring for so long in Europe and the USA. How did you find time to record in all that time?

O: Actually that’s a good question. Everybody kept asking like why it took us to record so long but actually it took us only 1 year to record.  But yes we toured for almost 2 years for the first time. It was a long time. And we were impatient to record new songs.

DS: Where did you record the new album “both ways open jaws”?

O: We started recording in the house we rented in South of France. We started for a few weeks. We took all our stuff from the studio and rented a truck.  We started going around with that truck and also different musicians came there to work with us. It was very important for us to get away from Paris and being in a new environment.

DS: What do you think about Paris these days? I’ve spent the last 2 summers there and I find it much more touristy now compared to 10 years ago.

O: That’s true. I think Paris is going down. We want to move somewhere else soon but we are not sure where it will be. Maybe to Berlin.

DS: Olivia, you are from Finland and Dan, you are from France. I assume that most of your time is spent together because of the tour, but when you are not touring…do you still spend time together?

D: We do music very often, so most of the time we are together. But when we need we take some time off and go apart, we do.

DS: And when you are on tour for a long time, who is your best friend?

D: Musicians.

O: I don’t know. I can’t focus on a book when I’m touring.  I can’t really actually focus on something else.

D: Normally, when you are on a tour, our best friend is our bed. We are so tired that when we have time to sleep we are extremely happy.

O: It’s also good to have good headphones. Listen to your own thing.

DS: Who do you listen to these days?

O: Tune-yards.

D: Micachu and The Breeders.

DS: On your new album, there are two songs that stand out for me, which I love: “Bohemian dances” and “was it a dream”. Can you tell us the story behind those songs?O: I remember I wrote Bohemian Dances when I was very sick. I wanted to break free, go out and start singing again. I was so bored. It was like a freedom anthem for me.D:  “Was it a dream’s” story…We wanted to make an old school song. And nobody is dancing slow these days.DS: (Olivia and Dan start dancing a little)

DS: Olivia,  this question is for you… Your style is very interesting.  Do you choose your clothes or does somebody else choose them for you?

O: Since I don’t really have time to go and pick them up somewhere,  a friend goes out for me and help me out.  Sometimes I just have time to go around and do shopping very quickly.

DS: What was the first album you bought?

O: I remember that the first I bought was with my brother. Michael Jackson:  “Dangerous”.

D: Mine was also from Michael Jackson: “Thriller”.

O: Was that on tape or  vinyl?

D: Vinyl. I’m older.

O: I’m a girl from 80’s. You are from 70’s.

DS: You are old Dan! (they both laugh)

DS: What’s the “phrase” you use these days, as a band?

D:: Can you feel the groove tonight! We just want to say that like a thousand times a day.

O: Oh it’s a long story. But you know you find the most cheesy video on Youtube and you keep watching it and it becomes a habit.

DS: Do you have any secret talents?

O: He’s (Dan) really good at cooking.

DS: Yeah? What can you cook?

D: Whatever you want.

DS: So if one day you decide to stop being a musician,  you always have a second job!

D: My parents have a restaurant for 35 years, so I have a talent.

DS: If you were to be a band in 60s or 70s, who would you be?

O: Can we be the Beatles?

DS: No! Everybody wants to be The Beatles.

D: The Kleenex.

– Hayalsu Altinordu

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.” (http://www.victoria-miro.com/exhibitions/_425/)


Miami’s ANR navigate post-apocalyptic musical territory on their new album Stay Kids.

The end of days may be imminent, but right now, we are going to need more napkins.It’s about 95 degrees and feels like Cambodia in the back room of Mikey’s, a greasy, Asian-influenced burger joint in the Lower East Side. I’m sitting down with Floridian (psych-synth) chill-wave band ANR, trying to stave off forehead sweat and keep my shirt clean, while politely navigating the house signature: a patty infused with corned beef hash, smothered in curry chili.If the Apocalypse looms near then two of the four horsemen have potentially revealed themselves as some unlikely but dubious “signs”: a lamb satay burger and a restroom door handle made of tissue paper. If this is, in fact, our last meal, I regret not having ordered the avocado shake. The horror…


ANR’s Michael-John Hancock and Brian Robertson are concerned about the coming apocalypse – their worry rears itself into our conversation more than once over the course of the night. This is, most likely, because of the band’s South Florida roots – an area notoriously devastated by hurricanes. In fact, the duo’s last album, Stay Kids, is a concept album about the recent Gulf Coast disaster, the earthquake in Haiti, and the fear that Miami will soon find itself under three feet of water.

“Miami has like 20-50 more years before its like Venice, before it’s flooded,” says Michael-John. “I think some people don’t want to talk about [the apocalypse]. This year especially, waking up New Years, dead birds falling from the sky, dead fish floating in the waters, that dumb ass with his head shaved in Arizona, all this stuff happening in the Middle East. So [the album] Stay Kids also means, ‘Go back to square one and deal with it, like a kid would.’”

The band has opened for such big name acts as Yeasayer. But, they tell me, they don’t get out much – and for some reason, I believe them.

Together, these “reclusive” Miami music-makers create complex, atmospheric synth-heavy dance music; A sound the band describes as  “apocalyptic psychedelic pop.” They create loud, virtuosic melodies with haunting, brilliant falsettos that reach a shimmering chorus of electro-pop juju with raw, punk rock intensity.

ANR is equal parts energetic and unnerving. Theirs is the kind of music befitting the soundtrack of a horror movie.Which, incidentally, it is. Slasher? I barely knew her is the band’s new, film project, in which Brian – the quieter of the two – plays an eerily believable killer. The short is an extended music video cum horror epic, reminiscent of Michael Jackson’s “Thriller” and based on ANR’s single, “Big Problem.”

“It all started with the idea of shooting spear hooks through this girl’s back, through her boobs, into her boyfriend’s hands,” Michael-John explains. “That little idea became a short film.”


We discuss the merits of Star Trek versus Star Wars, breakfast cereal with the Chariots of Fire soundtrack, evangelical radio preachers, and what it’s like living and making music down South. Brian tells us that one of the major handicaps to the South Florida music scene is its lack of venues. “It’s a pretty cool, self-contained scene, in a way, being so far South…So far out of the way from the rest of the country. You have to just get together, collaborate, make stuff. “

While our conversation occasionally drifts into darker waters, ANR’s laid-back, quintessentially southern style has me at ease like we are swapping ghost stories on a road trip. (Or how movie killers deftly charm their victims into thinking everything will be okay.)

But ANR truly will make everything okay, because they are a pop band that transcends pop music. ANR has managed to find an emotional catharsis in the chaos of the apocalypse and cultivated a sound and style that is surprisingly hopeful for the future. Stay Kids is really about “just trying to put a positive spin on the coming apocalypse,” says Michael-John.

Discosalt Magazine - Issue 1 - Cover

If the end of days is coming, ANR is spending their time wisely.

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


Starfucker, also known as STRFKR, formerly briefly known as Pyramiddd, performed to a sold-out Bowery Ballroom on Saturday night.  A far cry from the Nachbar show I organized in 2008 (link) and even the Mercury Lounge performance of 2009 (link). How things have changed…bigger venue, bigger sound, bigger crowd, and even a bigger band…but there was one major deficiency.  Ryan, the face and frontman of Starfucker, is gone.  Starfucker may have started as a solo project of Josh’s, but for anyone who had seen them live, Ryan was the center of attention. For those that had never seen Starfucker before, the absence is really no loss.  The band sounded fantastic, Shawn and Josh both stepped up to share duties that the comically bad dancer Ryan once alone bore and had I not known better I would think they’d spent years with this approach.  Call me an old man, well-removed from the loop, as I was unaware that in early August, Ryan had announced his departure from the band to focus on his solo career.  It’s unfortunately hard to recover from an unexpected blow of that caliber. I wasn’t prepared.

Nevertheless, the band DID sound amazing.  Starting off with the their first ever single, German Love, the band instantly drew the crowd in.  Though in essence a simple and pure pop song, when combined with a rad laser show, harder-than-anticipated synth beats, and a crowd of primarily 18-20 yr olds, a pit was bound to erupt.  It was, in fact, in many ways, one of the most aggressive shows I have seen in New York, and it was from the first note.  My girlfriend and I were literally forced from front row, center stage to fifth row, stage left by the time German Love had finished.  Growing up going primarily to punk shows, I loved it.  The energy of the band and the crowd ramped up quickly and never faltered.  My concern that the show would lack energy, sweat and dancing without Ryan was quickly alleviated.


Beat Connection



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”. 

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