HOLY OTHER - Feel Something

Holy Other: With U [Tri-Angle]

Due to the ghostly vibes and his Tri Angle roster spot, Holy Other’s work is mistakenly cast as something gothic, dark, or due to be canonized in wing-ding letters in some infinitely vacuous witch house manifesto. In reality, this past year found the veiled Manchester producer offering something far different from those suspected shock and horror tropes: the romantic hybrid house of With U. Holy Other’s deep, disembodied vocals echo like distant memories as screwed orchestral swells and choral bass moans swallow them up. The atmosphere of yearning is palpable, whether for past love or new direction; the subdued lust of a simultaneously ravenous but tender one night stand looms over the hungry pleas of With U,especially in the meter- and momentum-shifting standout, “Touch.” Holy Other’s debut is a triumphant melding of R&B’s emotion, bass culture’s sensuality, and house’s heartbeat, and the result is one of the year’s most intimate albums. —Matt Sullivan

AOKI Takamasa

Rn4-09

Rn-Rhythm-Variations

2009 raster-roton — R-N 113

kaox66 

Old Black — Egyptrixx feat. Ohbijou

datdatd.at/old-black/
Old Black is Egyprixx´ remake of the song of the same title by the drone doom band Earth. David Psutka had already commissioned me with the video Start from the Beginning for Egyptrixx last year and he commissioned another one this year. Even though “Old Black” and “Start from the Beginning” are completely different songs, I tried to stick to a similar concept and develop a bleak artifical world, which is influenced by the soundcsape. Starting out I had designed a lot more symbols and scenes, but David urged me to keep it as minimal and simple as possible.

The graphic elements are a mixture of 3d-renderings and flat 2d textures aligned in space. The video makes heavy use of particles and simulations and was made with the open source 3d software blender.org with After Effects used for particle and compositing work. Randomness finds its way into my work often and I appreciate the element of not having complete control over the outcome of a scene.
The video was made in a timeframe of about 3 weeks total, with render and simulation times well over 6 weeks spread out on several workstations.

FACTORY FLOOR - TWO DIFFERENT WAYS

True to their name, London trio Factory Floor make the kind of clattering, gloomy electronic music that’s associated with famed UK label Factory Records’ incredible 1980s run. Up to this point, the band’s shown a predilection for industrial antagonism— brittle synths, irregular post-punk rhythmic figures, hollowed-out noise, and dead-eyed vocals reminiscent of coldwave’s brutal malaise. If you get the call from DFA, then, you better clean yourself up and make something that bangs like the Hacienda on a good night; accordingly, the band’s single for the label, “Two Different Ways”, steps up to the challenge. Factory Floor’s songs are long, regularly running well over the six-minute mark, and “Two Different Ways” is no different, stretching its legs over eight well-paced minutes. The synths draw huge, arpeggiated circles within circles, while metallic drum machines rattle in and around Nik Colk’s incantatory vocals. For a group that’s done well with abandon for years now, “Two Different Ways” impresses because of its sheer restraint, as Factory Floor take time to burn down what they’ve built so that everything evenly, excellently smolders.

By Larry Fitzmaurice; November 10, 2011

Pitchfork

VERSUS . David Letellier

kangding ray:

Versus is a sound installation consisting of two kinetic sculptures placed face to face.

Each sculpture is made out of 12 triangular panels, hinged and powered by six linear actuators, controlled by a specific program. At the center of each corolla, a loudspeaker and a microphone allow to play and record sounds.
At regular intervals, each sculpture produces a sound, simultaneously recorded and analyzed by the opposite sculpture, which then moves according to the frequencies of this sound.
Like a feedback loop, it then plays back the recorded sound, with the errors and disturbances caused by the reverberating space and the visitors.

By intervening in this conversation, the viewer becomes an actor, as he degrades the communication by his presence and the noises he produces. As the panels move back and forth at a pace determined by the environmental sound, they create a non-immediate interaction, where the imperfections of reproduction are becoming creative elements.

The original sound is continuously transformed, and becomes something entirely new and unpredictable. The memory of past events is hold for a moment, until it’s reproduced, degraded, and then forgotten, replaced by the present.

amalgamation

motion : Micaël Reynaud, gplus.to/micael 
portraits : Michael Jang, michaeljang.com 
music : Memory Tapes, myspace.com/memorytapes 

animated gif available, j.mp/amagamation 
youtube 1080p version, youtu.be/5lugDrGlQTQ?hd=1
static portraits, j.mp/uKhLs3 (+ interview of M. Jang)

Evan Engstrom:

Anchor of Golden Light

2010

Electroluminescent wire, custom circuit, wood

62 x 41 x 2 in.

Hyper Geography (2011)

by Joe Hamilton

visual-poetry:

unicode

(by ffoitl aka jörg piringer) 

shows all displayable characters in the unicode range 0 - 65536 (49571 characters). one character per frame. 

http://joerg.piringer.net/unicode/

if you want to know more about the video (how i made it) & the sound go here:
http://netpoetic.com/2011/04/unicode/

White Light/White Heat

Rainer Kohlberger | Wilm Thoben 2011

A strong laserbeam is deflected by two mirrors oscillating at very high speeds. The human eye perceives a stable image as long as they move fast enough. White Light / White Heat operates at the threshold of this rate. A constant modulation is introduced, flicker and envelopes modulate basic geometric shapes and waveforms.

This is the film version of a piece contributed to the site specific audiovisual installation ‘Shift’ by Praxis Berlin hosted by 22 Presents Showroom Prague.

22presents.com
vimeo.com/​praxisberlin/​shift