Panic Cell: "Thousand Words" Video
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Panic Cell decided to re-release "Away From Here" as a follow up to Thousand Words. As the band's look had changed they needed a new video for this re-mixed version. Set in a club during Panic Cell's performance, the narrative follows a girl as she meets her apparent assailant. We had an industrial niteclub location in mind when writing the script but decided to recreate the club in a studio which was logistically beneficial and kept costs down. We hired the loading bay at Black Island Studios. The set for the narrative was built adjacent to the bay where the band were performing, enabling crew to jump between sets so the band's performance could be shot while the actors were going through make up changes. We achieved the look for the club by using long lenses and low key lighting, shooting on an Arri 435 from Panavision so we could easily adjust the shutter angle between shots. Robin Brigham had lit the original version and has a great gift for getting creative under pressure, managing to keep up with our tight shooting schedule. Our two production dynamos Carolyn and Isy sourced actors Jennifer Glyn and Danny George who's parts were pre-blocked and rehearsed enabling efficient shooting. The whole shoot was storyboarded and planned down to the last detail in order to accommodate the amount of set ups. We used Panic Cell's fans as extras to add to the realism of the club. A free bar as part of the set was unfortunately derogatory to their behaviour but despite alcohol induced issues the extras did a great job and we shot as planned with long lenses to create the illusion of a larger crowd. For practical reasons all the scenes with the extras were shot first. The flashbacks of Jennifer getting ready were filmed in a house in Wimbledon. Danny wasn't available so Yan body doubled during the exterior attack scenes which were shot in the back garden. Finally we dragged poor shivering Jennifer into a nearby alley to shoot her post attack scenes, covering her in a blanket between takes. Robin lit this sequence with one sungun maintaining the high contrast look of the club interiors, shooting everything wide open on the lens which gave us a very shallow depth of field. Dave at Framestore provided us with another superb grade and once we finished the cut, the final stage was the subtle CG sequence as Jen turns into a vampire. Chris Shaw created a rough transition, tracking vampire eyes and teeth onto Jen's face. He had planned to do a more detailed version but the first one worked really well as the sequence only lasts for a second, so we used this in the final cut. More information is available at www.visualabuse.com
Jerry Hawkins: "Dancin' With This Ol' Cowboy"
A bright original tune written by Jerry Hawkins and performed "Live" on television for Urban Almanac and Money Talks niteclub...(now Club "Gravity") - I have spent alot of time in niteclubs over the years and I found that one basic challenge to quite a number of men is simply going up to a lady and asking if she would like to dance with him. This is after talking to many dudes who go through a certain "ritual" with women in niteclubs....this song came about as a result. Mr. Bob Long of Tulsa's Guitar House and Urban Almanc made all this possible for television viewing. Pat Richardson, a very funny dude, guest M.C.'d this show. This was aired on Cable channel 10 and channel 41 television. Late..at nite.
Second Sun: "Through Each Kinder Day"
We began by shooting the band against black over four hours in the lighting company AFM's test studio. Tim hung Kinoflow tubes from the ceiling and exposed only for the lamp so as to give the appearance of floating strips of light. The initial idea was to then film the band in a dense wood and dissolve between the two, however when we got to the location the next day the fields around it had turned into a lake, so we abandoned that idea and moved to a nearby service bridge over the A3. We set the band up on the bridge and drove our three cars backwards and forwards past the band at break neck speed through an eight foot gap between them and the camera and with a 30 ft stopping distance, otherwise they'd be in the hedge. I then cut it to try and give the the illusion of the band playing on a motorway. Originally the promo was to be more story lead showing the relationship between a man and a woman breaking down. We filmed this in Battersea Park and on the North bank of the Thames on a 16mm Bolex but had serious light leak issue. So, being on a budget of zero pounds, reshooting was out of the question. We salvaged the best of the footage and cut it in around the performance.
Veronica Belmont takes you along the streets and into the clubs of Austin, Texas, during her first hours at this year's South by Southwest Interactive Festival.
Veronica Belmont takes you along the streets and into the clubs of Austin, Texas, during her first hours at this year's South by Southwest Interactive Festival.
Ryan Shupe & the RubberBand: "Dream Big"
A fiddle player since the age of 5, Ryan Shupe first worked as part of a group at 10 years old when his dad brought together a bunch of talented kids to play in a band. He joined various types of musical groups in his teens and in college, only to be disappointed to see them break up just as they seemed to be in a groove. He decided to start his own band that would not break up and called it the RubberBand, because it was meant to be elastic. He brought in the players he needed but only when he needed them. (There might be just one other musician sharing the stage with him or there might be four others.) The lineup changed constantly until, without even trying to make it happen, the membership jelled. As of 2005, the members included Roger Archibald (guitar, vocals), Colin Botts (bass, vocals), Craig Miner (banjo, bouzouki, guitar, mandolin and vocals), Bart Olson (drums) and Shupe (lead vocals, fiddle, mandolin and guitar). The band's influences include such diverse performers as Willie Nelson, Johnny Cash, Bob Marley, the Police, AC/DC and Bela Fleck. Most have dabbled with a number of different instruments, and all have been playing since they were kids. Shupe is the group's principal songwriter.
Change is unquestionably a constant in life. When Matchbook Romance began in 2001, the idea of playing music for a living felt like a dream, a romantic fantasy that dwelled in each member of the band?s imagination. And, for years, anyway, it seemed like it would remain that way. ?We never thought it was something that could actually come true for us,? says vocalist/guitarist Andrew Jordan who, at the time, was living at home and working as a waiter at a local restaurant. ?We had seen so many other bands try and reach for that place in the world only to fall short. We always thought, ?What are our chances??? Still, people believed in the band?their friends, families and peers?and they encouraged Matchbook Romance?s just-stepping-into-the-world rank and file to drop their impending classes at various community colleges in and around Poughkeepsie, NY that fall, in order to concentrate on the band. Which, they did. Thankfully, for us, they did. Matchbook Romance spent the next six months recording a group of demos that would attract the attention of Epitaph president Brett Gurewitz?a man who would later sign the relatively green band (literally the day before stepping on a plane to finalize contracts with the longstanding punk label, the band?s then-18-year-old drummer Aaron Stern graduated from high school). Gurewitz also produced their first real recording, the West For Wishing EP, in 2003, but it was Matchbook Romance?s debut, Stories And Alibis, that the world would really take to. The album?s list of successes now speaks for itself: following its late 2003 release came the video for ?My Eyes Burn,? a run on the cover of scene bible Alternative Press and a slot headlining the first-ever Epitaph Tour. In between, Stories And Alibis sold over 200,000 copies and the band absolutely lived on the road in support of it. As Matchbook Romance began writing the initial version of what would become their second album, VOICES, they began to take their musical ideas to a variety of new levels. The band was writing constantly. If you were to have walked into the back lounge during one of the many tours behind Stories And Alibis chances are the mirrored walls in their tour bus would have been covered with ideas for lyrics and ideas for new songs. Matchbook Romance knew their next record would have to stand apart and the material they had begun self-recording while out on the road behind Stories And Alibis?all of it decidedly more sparse, moody and meditative?was significantly removed from the sound they honed on their debut. One significant factor, as Jordan puts it poetically, is that they ?declared war on power chords.?
Matchbook Romance: "My Eyes Burn"
Change is unquestionably a constant in life. When Matchbook Romance began in 2001, the idea of playing music for a living felt like a dream, a romantic fantasy that dwelled in each member of the band?s imagination. And, for years, anyway, it seemed like it would remain that way. ?We never thought it was something that could actually come true for us,? says vocalist/guitarist Andrew Jordan who, at the time, was living at home and working as a waiter at a local restaurant. ?We had seen so many other bands try and reach for that place in the world only to fall short. We always thought, ?What are our chances??? Still, people believed in the band?their friends, families and peers?and they encouraged Matchbook Romance?s just-stepping-into-the-world rank and file to drop their impending classes at various community colleges in and around Poughkeepsie, NY that fall, in order to concentrate on the band. Which, they did. Thankfully, for us, they did. Matchbook Romance spent the next six months recording a group of demos that would attract the attention of Epitaph president Brett Gurewitz?a man who would later sign the relatively green band (literally the day before stepping on a plane to finalize contracts with the longstanding punk label, the band?s then-18-year-old drummer Aaron Stern graduated from high school). Gurewitz also produced their first real recording, the West For Wishing EP, in 2003, but it was Matchbook Romance?s debut, Stories And Alibis, that the world would really take to. The album?s list of successes now speaks for itself: following its late 2003 release came the video for ?My Eyes Burn,? a run on the cover of scene bible Alternative Press and a slot headlining the first-ever Epitaph Tour. In between, Stories And Alibis sold over 200,000 copies and the band absolutely lived on the road in support of it. As Matchbook Romance began writing the initial version of what would become their second album, VOICES, they began to take their musical ideas to a variety of new levels. The band was writing constantly. If you were to have walked into the back lounge during one of the many tours behind Stories And Alibis chances are the mirrored walls in their tour bus would have been covered with ideas for lyrics and ideas for new songs. Matchbook Romance knew their next record would have to stand apart and the material they had begun self-recording while out on the road behind Stories And Alibis?all of it decidedly more sparse, moody and meditative?was significantly removed from the sound they honed on their debut. One significant factor, as Jordan puts it poetically, is that they ?declared war on power chords.?
Change is unquestionably a constant in life. When Matchbook Romance began in 2001, the idea of playing music for a living felt like a dream, a romantic fantasy that dwelled in each member of the band?s imagination. And, for years, anyway, it seemed like it would remain that way. ?We never thought it was something that could actually come true for us,? says vocalist/guitarist Andrew Jordan who, at the time, was living at home and working as a waiter at a local restaurant. ?We had seen so many other bands try and reach for that place in the world only to fall short. We always thought, ?What are our chances??? Still, people believed in the band?their friends, families and peers?and they encouraged Matchbook Romance?s just-stepping-into-the-world rank and file to drop their impending classes at various community colleges in and around Poughkeepsie, NY that fall, in order to concentrate on the band. Which, they did. Thankfully, for us, they did. Matchbook Romance spent the next six months recording a group of demos that would attract the attention of Epitaph president Brett Gurewitz?a man who would later sign the relatively green band (literally the day before stepping on a plane to finalize contracts with the longstanding punk label, the band?s then-18-year-old drummer Aaron Stern graduated from high school). Gurewitz also produced their first real recording, the West For Wishing EP, in 2003, but it was Matchbook Romance?s debut, Stories And Alibis, that the world would really take to. The album?s list of successes now speaks for itself: following its late 2003 release came the video for ?My Eyes Burn,? a run on the cover of scene bible Alternative Press and a slot headlining the first-ever Epitaph Tour. In between, Stories And Alibis sold over 200,000 copies and the band absolutely lived on the road in support of it. As Matchbook Romance began writing the initial version of what would become their second album, VOICES, they began to take their musical ideas to a variety of new levels. The band was writing constantly. If you were to have walked into the back lounge during one of the many tours behind Stories And Alibis chances are the mirrored walls in their tour bus would have been covered with ideas for lyrics and ideas for new songs. Matchbook Romance knew their next record would have to stand apart and the material they had begun self-recording while out on the road behind Stories And Alibis?all of it decidedly more sparse, moody and meditative?was significantly removed from the sound they honed on their debut. One significant factor, as Jordan puts it poetically, is that they ?declared war on power chords.?
Aloha formed in the fall of 1997 when Eric Koltnow returned to Bowling Green, OH, to find guitarists Tony Cavallario and Matthew Gengler conspiring to form a band. He was down for playing with one condition: he was bringing his vibraphone. Anthony Buehrer filled the drum stool. They recorded and released a seven inch. They lugged a vibraphone around the country in little pieces wrapped in old, filthy blankets. One day the band found themselves with a gig but no drummer. That's when Cale Parks came to visit, learned the set, time signatures, changes and all, in about three hours. They played that night knowing that nothing was ever going to stop them. Soon Aloha was in the studio, knowing only that the music coming out of the monitors was what they'd always hoped to hear. Aloha then wooed Matt from Polyvinyl Records into a deal with these demos. After a fall in Cleveland and a frantic month in the studio, Aloha released That's Your Fire in May of 2000. They then took their non-stop, mallet-whacking, yelling, making-shit-up-on-the-spot show on the road,proving their songs were not post-rock studio creations but living, breathing pop rock anthems. 100+ shows later, the band recorded their follow-up LP, Sugar in 2002. After a fall tour which found Aloha playing a handful of shows without a vibraphone player, a lull in the touring schedule turned into an end of an era. Months expired. In May 2003, Tony, Cale and Matth got together with friend and collaborator T.J. Lipple in his grandpa's empty house in Altoona PA, and formed the recharged Aloha you hear today. That fall the band entered the studio to record some new songs, two of which became the Boys in the Bathtub 7". The band is currently planning a spring tour and another stint at Inner Ear (where T.J. works) to record their third LP.
