Can I say somethin’
That might sound wrong
Maybe we’ve been too
Free too long
Oh no, not again
I get the feelin’ this is never gonna end
Death From Above 1979 - The Physical World Pop Up Shop Live
Toronto, Ontario, Canada on September 4th, 2014
Death From Above 1979 - The Physical World Buttons
Picked these up at the DFA1979 pop up shop in Toronto the other day. Very cool.
I can’t get enough.
Ray Gun: Out of Control
The Closing Down
by David Bowie
"These days it’s called closure. It’s the resolution of something that hangs over for maybe a day, maybe a lifetime. For an artist, whether working in the musical, visual or plastic arts, attempts to embrace a closure on a piece of work can lead to both multiple-option, confusion or block. In my case, each is the result of a conflict over the status of the work.
Is it supposed to have a “meaning” or – as often happens for me –
has a certain set of dictates or creative devices presented me with an altogether new scenario? One that I could have never forseen?”
A film photobook by Phuong Nguyen and Scott Williamson
- 103 pages of 65 photos and original writing
- 8.25” x 5.25”
First of all, our deep thanks go out to all of the people who have supported us by purchasing a copy of the book so far! After spending close to a year working on this, it’s gratifying hearing such positive sentiments from everyone.
For those of you who are still curious about the photobook, I just got around to posting a more comprehensive overview of it on my personal website. Hopefully it will give you a better idea of what Wavering Light is all about. View the full project here, including some process photos or on Behance.
Let mononymic and I know what you think!
Available via HP MagCloud
MURAKAMI POSTER COMPETITION
To celebrate the arrival of Haruki Murakami for Saturday’s London signing at Waterstone’s Piccadilly, we’re giving away ten beautiful posters for Colorless Tsukuru Tazaki and His Years of Pilgrimage.
To be in with a chance just Reblog this post and we’ll pick 10 lucky winners out of the hat.
The competition closes on Monday 1st September.
"I’m trusting something which people cannot see, but people can feel it … I cannot trust which I can see. Because you know, I think music is kind of the one of the energy, and we really wish if–it’s gonna be great if–we can make a kind of bridge which people can meet each other and share some beautiful things … and a pure mind. And, I don’t know, I think that music has that purpose. I’m still trusting music with much more strength to explain more than languages.
Now it’s, you know, it’s like for more than a generation, people can easily listen to music. Through their iTunes, digital, Youtube, internet. But I cannot feel “music”. You know, it’s, music can–I would say like a, moving, moving the air. Somehow CD cannot move, cannot shake the air. So yeah, for us it’s much more important to play shows in front of them, and sharing that actually and instantly.”
- Takaakira Goto, Mono
Ray Gun: Out of Control
Besides the huge volume of fantastic design work compiled from Ray Gun and other related magazines of it’s era (huH, Bikini, etc.), this book also includes some interesting essays. Here’s an excerpt from one of them:
Are You the Bomb?
Speaking Ray Gun to the New Niche Cool
by Dean Kuipers
The article references how David Bowie expressed in a previous issue that he has always been more interested in not what other artists mean–because he’s happy with his own interpretation–but how they get there. It then moves on to talk about how Ray Gun, and founding designer David Carson assumes you need to know how artists “get there”, noting and providing examples of how the publication solicited contributions from musicians–often outside of their regular medium–since it’s inception.
"If this approach is so effective, then, resonating so honestly within the culture itself, why don’t more magazines do it? Control. Most editors and publishers – and all critics – feel useless if they can’t tell you what a cultural artifact like a Nirvana record "means.". I know. Sometimes I am one. Critics have to box art into a social context. Editors have to demonstrate a vision, a consistent set of "important" values that you should care about. Publishers have to construct a grand pretense behind which you cannot see them, like the Wizard of Oz pulling levers behind his curtain and amplified voice, scrambling to simply articulate what everyone has already indicated months earlier that they will buy if it’s presented to them in some glossy, celebrity-laden format. And cruising just under that glossy surface, of course, is a menace as big as Bruce the Shark and infinitely more deadly: the megalomanical need to control people, to steer culture away from the radical and toward the safe. They have to sell you a bill of goods. That’s some really glamorous drudgery. Like any other magazine, Ray Gun has to sell, but its unique position in the culture affords it more latitude: Ray Gun takes the huge-money commodity that is Music and gives it all of its possibilities back. Jerks it out of the context wrappers like, "Essential listening for parents struggling to understand their kids," or "Indication of the modern moral malaise," or "Important because it has sold 13 million copies," or "Black music." Instead, Ray Gun asks: "How does this work as music? As art? What happens if we contextualize it with a painting or a dialogue? Do we really have to tell our readers why they should care about Frank Zappa? Do we need to legitimize ourselves with Moon Unit’s presence, or should we just let her discover what she wants to say so we can all learn from it? Ray Gun trusts the smart map
reader to figure out how to “get there”.
Vamps Live 2008 - MIDNIGHT CELEBRATION
Brian Eno once said:
”Whatever you now find weird, ugly, uncomfortable and nasty about a new medium will surely become its signature. CD distortion, the jitteriness of digital video, the crap sound of 8-bit - all of these will be cherished and emulated as soon as they can be avoided.”
I think this video proves he was right. There’s something so satisfying about seeing the distortion and static in this video; it affects the entire mood and feeling of the performance itself. Very cool. Maybe the medium is indeed the message.