Jack DeJohnette: "Ocean Wave" Video
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The film consists of mixed 3D-animation, 2D-animation, frame-by-frame animation and still images. Also some self-recorded sounds and some self-composed music, though lots of sound effects and music samples were taken from free internet sources. LightWave3D, Photoshop, After Effects, Acid Pro. The original video-material is saved as 7489 single 1920x1080 PNG frames.
The White Stripes: "Blue Orchid"
get behind me satan -is the white stripes? fifth album -produced by grammy award winning producer jack white -recorded in Detroit at third man studios, mixed in Memphis at ardent studios, mastered in new york city at masterdisk -album contains thirteen original songs -songs were written on piano, acoustic guitar, and marimba -songs are deceivingly orchestrated, some sounding as if they were recorded with a full orchestra when they only have piano and bass on them -none of the songs had been played live before the recording of the album -none of the songs were completely written before the recording of the album -contains the white stripes shortest song to date -only three songs are electric guitar based -the band used their live sound engineer to engineer the recording -their fourth album, elephant was released one year after completion. the first single from get behind me satan, ?blue orchid,? was released two weeks after completion -jack white has described the record as an exploration of ?characters and the ideal of truth? -the band will tour prior to, and continue after, the album?s release but are only playing countries and cities that they?ve never been to before. The band plan to tour the u.s. and Europe afterwards. -a vinyl version of the record will be put on hold pending a unique release. -produced by jack white, engineered by matthew kettle, mixed by jack white, mix engineer john hampton, mastered by howie weinberg, photos by ewen spencer all songs written by jack white album artwork design by the third man artwork layout by arthole graphics
The Samsung BlackJack heralds another 3G-enabled smart phone to Cingular's lineup. While it supports the carrier's video and music service, some design and performance issues trip up this otherwise sexy device.
Tom Waits: "God's Away on Business"
"Real Gone" is the unpredictable follow-up to the atmospheric and conceptual "Alice "and "Blood Money," two albums that TOM WAITS released simultaneously in the spring of 2002.
In an exciting departure from the critically acclaimed Alice and Blood Money, Waits? fevered imagination has spawned a new musical hybrid, grafting together worlds both sonic and ethnic from musical traditions both old and new. The 15 track CD features: primal blues, Jamaican rock-steady grooves, rhythms and melodies both African and Latin, what Waits calls ?cubist funk.?
In that sonic cubism, Waits ingeniously finds common ground with hip hop?s cut and paste aesthetic and incorporates some of its elements into his approach. Many of the tracks on Real Gone were built on Waits? ?human beatboxing? on a cassette recorder in his bathroom and bringing those tapes into the studio to have the band play over them. As a result, there are no drums on many of the most driving tracks as his voice provides all of the necessary propulsions. And for the first time, there is no piano.
In late 2003, with more than 20 songs completed, The Race approached electronic duo Telefon Tel Aviv to help produce a new record. Self-admitted studio-perfectionists and highly acclaimed for their electronic composition, Telefon jumped at the opportunity to work on a group of songs that were raw yet completely written. Over the course of two months, The Race and Telefon broke down the music to its essential elements and then began to build it back up again. The Race's preference for simple song structures and dynamically powerful writing, combined with the exquisite production of Telefon Tel Aviv, has resulted in the stunningly beautiful "If You Can" - an album that shows a band ready to make its mark.
Following closely on the heels of their critically-acclaimed Knock Knock Knock EP, Make Up the Breakdown is Hot Hot Heat's debut full-length, recorded with Jack Endino at Vancouver, BC's Mushroom Studios. SPIN Magazine had this to say about Knock Knock Knock: "Some retro new wavers hang themselves on their own skinny ties. While their peers lip-sych to Cure 45s, these Canucks take subtler cues from early-'80s synth disco. Its not new wave worship, it's the sound of punk teaching itself to dance." And the new record delivers on the promise hinted at on the EP. Hot Hot Heat (along with peers like Radio 4 and The Rapture) blend angular post-punk twitch with danceable pop, effectively (and finally) persuading white dopes on punk to get on the good foot.
Project Vector: "Out of the Closet"
Rock/techno artist Project Vector debuts in the realm of video with "Out of the Closet," a self-shot and self-edited video. With neither the time for extensive on-location shooting or the budget to hire a professional video production company, Project Vector's Dave Gastambide dived in with almost no experience in video and produced what many are calling a surprisingly good clip for a first try. "I basically just shot most of the footage in front of a green screen and used a lot of compositing and digital effects to try and create some interesting visuals," Dave elaborates. "I didn't really know what the heck I was doing, but it was fun." "Out of the Closet" is the opening track on REALITY SHOW, Project Vector's debut CD released earlier in 2005. The album has gradually been winning PV an enthusiastic following who dig the unusual stylistic hybrids and the willingness to intelligently explore controversial subjects.
With the desire to express yet another facet of his musical persona, one that would explore with density the boundaries between jazz, rock, pop and world music, it was decided to record with guitarist/arranger Thor Madsen, drummer Jochen Rueckert, bassist Jesse Murphy and songstress Marla Turner . These, with Ilhan on tenor and keyboard would be the latest incarnation of a continuing project known as Wax Poetic. The pun intended, Wax Poetic was both to go vinyl and to be an armature on which to drape the mnemosonic and dreamy cinematic soundscapes that ilhan sought. Think Dance of the Penguins. Earlier incarnations of the project including a then?unknown Norah Jones, N'dea Davennport and Saul Williams. Skating on glass, dancing on twigs, exploring crisp edges of dub and electronica, this version of the band continues in a tradition begun some 6 years ago. Characteristic of Wax Poetic's web of voice and the effusive persuasion of Thor's and Ilhan's electronic meanderings through levels of the band's id are the pulsating bass of Murphy and the chugging, rock steady backbeats of Rueckert. Says singer Marla Turner, "I don't want to sound like anybody else. I just want to do what I'm doing. That's why I'm with Wax Poetic." In response to comparisons to bands like Thievery Corporation or tenor riffs that conjure those of John Coltraine on electronics, Ilhan has said "There are always going to be influences. You hear them, you reconfigure them and you arrive at something new. That is what I want to do with all my bands, and particularly with Wax Poetic. I wanted a vocally?led situation - you know, songs - and a little improvisation with the emphasis on sound rather than on solos. In fact there is actually not that much saxophone except as obligato behind the band and Marla. It's mostly keyboards with Thor's guitar and beats added to Jochen's, with Jesse's bass. If we happen to sound like somebody or remind you of somebody, maybe we meant that to happen and maybe we didn't. I guess that is the price of being contemporary, you hear things and you accept them or reject them in accordance with what you intend to project. Sometimes it's not what you intended, but I think - insofar as I even do think about it - that that is what makes it art."
From First To Last: "The Latest Plague"
?It?s one thing to play a certain type of music,? says singer Sonny Moore dismissively, ?but it?s another thing to have no originality.? This is not just another brash quote from a member of one of the only truly punk bands left, From First To Last. It?s actually more of a mantra. Because when the members of From First To Last?Moore, drummer Derek Bloom and guitarists Travis Richter and Matt Good?began recording their highly anticipated second album Heroine, the pursuit, above all things, was originality. Which, as one spin of Heroine attests, is what they?ve achieved. ?We are so pleased,? Moore says. ?Before we started, we all said, ?We?re not going to make this record unless it?s a record we truly love.? And we did. This is the first time I?ve ever been so proud of a piece of art in my life.? This didn?t happen overnight. Formed in 2002 by Richter and Good in their hometown of Orlando, Florida, it wasn?t until FFTL began recording their Epitaph debut Dear Diary, My Teen Angst Has A Body Count that the band?s line-up began to congeal. Living in Los Angeles and half-heartedly playing in another band, the then 15-year-old Moore decided to spend a few weeks with the band in Georgia, where they were recording their debut. His timing couldn?t have been better. Moore arrived just as Good and Richter parted with their original singer and they were in the process of filling in the vocal gap on their own. After hearing Moore singing backups in the studio one day, a decision was made: Moore was in. Perhaps unsurprisingly the remainder of Dear Diary came together almost as quickly. Good and Richter had written the album in two weeks; Moore completed his vocals in the same space. They were barely a band in some senses, but FFTL?s music caught on nonetheless. Due in large part to their constant touring schedule, including three consecutive Warped Tour runs, Dear Diary went onto sell over 100,000 copies. But beyond the album?s success was an often-unnoticed subtext. As Moore puts it on the album?s opening track, with his tongue firmly planted in his cheek, ?I?m glad you?ve graced me with your presence/You?re just in time to see me wrestle with my conscience.? Nevermind your broken heart. This was ?screamo? with wit.
From First To Last: "Note To Self"
?It?s one thing to play a certain type of music,? says singer Sonny Moore dismissively, ?but it?s another thing to have no originality.? This is not just another brash quote from a member of one of the only truly punk bands left, From First To Last. It?s actually more of a mantra. Because when the members of From First To Last?Moore, drummer Derek Bloom and guitarists Travis Richter and Matt Good?began recording their highly anticipated second album Heroine, the pursuit, above all things, was originality. Which, as one spin of Heroine attests, is what they?ve achieved. ?We are so pleased,? Moore says. ?Before we started, we all said, ?We?re not going to make this record unless it?s a record we truly love.? And we did. This is the first time I?ve ever been so proud of a piece of art in my life.? This didn?t happen overnight. Formed in 2002 by Richter and Good in their hometown of Orlando, Florida, it wasn?t until FFTL began recording their Epitaph debut Dear Diary, My Teen Angst Has A Body Count that the band?s line-up began to congeal. Living in Los Angeles and half-heartedly playing in another band, the then 15-year-old Moore decided to spend a few weeks with the band in Georgia, where they were recording their debut. His timing couldn?t have been better. Moore arrived just as Good and Richter parted with their original singer and they were in the process of filling in the vocal gap on their own. After hearing Moore singing backups in the studio one day, a decision was made: Moore was in. Perhaps unsurprisingly the remainder of Dear Diary came together almost as quickly. Good and Richter had written the album in two weeks; Moore completed his vocals in the same space. They were barely a band in some senses, but FFTL?s music caught on nonetheless. Due in large part to their constant touring schedule, including three consecutive Warped Tour runs, Dear Diary went onto sell over 100,000 copies. But beyond the album?s success was an often-unnoticed subtext. As Moore puts it on the album?s opening track, with his tongue firmly planted in his cheek, ?I?m glad you?ve graced me with your presence/You?re just in time to see me wrestle with my conscience.? Nevermind your broken heart. This was ?screamo? with wit.
