Bear In Heaven – Time Between Music Video (Interview w/ Jon Philpot & Director Nick Bentgen)

For the “Time Between” music video, Bear In Heaven enlisted the help of director Nick Bentgen, who spent long nights hanging out with strangers and visiting the homes of acquaintances in Manhattan, Brooklyn, and Queens, to collect what must have been hours of observational footage. He then wove together an abstract piece of visual poetry, which plays off of the track’s dramatic percussion to create a striking portrait of the beautiful and bizarre nature of New Yorkers.

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Brian Reitzell Retrospective Feature: From Film Soundtracks to Auto Music

Kraftwerk’s 1974 album, Autobahn, was inspired by the feeling of traveling freely along the open German motorways it was named after. Forty years later, a different driving journey serves as a guiding force behind Brian Reitzell’s debut album, Auto Music: Reitzell’s commute to and from work in Los Angeles. Its motorik kinship with other Krautrock greats is keenly present on tracks like “Auto Music 1″, echoing as it does Can’s formative free-form instrumentation and the metronomic pulse of Neu!. In that sense, the song and album’s influences feel expertly curated–which isn’t surprising, given that Reitzell is the same man who is responsible for the Jesus and Mary Chain’s “Just Like Honey” playing over the closing scene in Sofia Coppola’s Lost in Translation–as well as getting My Bloody Valentine’s Kevin Shields to contribute to that film’s soundtrack after a long spell out of the spotlight.

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Austra – Habitat Music Video (w/ Katie Stelmanis Interview)

Directed by Matt Lambert, Austra’s music video for “Habitat” weaves together three tales of human connection into one beautifully-lit cinematic narrative. Set in motel rooms that have been transformed into flowery love chambers, “Habitat” is a departure from Lambert’s more sexually-charged works, but maintains a strong focus on casting and persona; with a deliberate eye, it captures the moments of first intimacy between forbidden lovers. Katie Stelmanis of Austra gives us some insight into the band’s collaboration with the director.

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Woman’s Hour – Conversations LP Music Videos & Visual Branding

“My collaboration with [Oliver] Chanarin began with a love of didactic images: images that explain things; how to resuscitate a dying man, or put a chain on your chihuahua, or fall over without hurting yourself. These are images made with a certain purpose, but they can be very beautiful too. Accidentally beautiful, which is what we like about them.” - Fiona Jane Burgess, Woman’s Hour

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Jeffertitti’s Nile – No One Music Video (w/ Jeff Ramuno & Johnny Maroney Interview)

“A lot of the symbolism is all centered around the ideas of unity and transcendence, death and rebirth, and the infinity of everything. When I first heard the song, I kept seeing this movement of traveling through multidimensional space and transforming landscapes, and the chorus was definitely always moments of opening and clarity.” - Johnny Maroney, Director

“That’s kinda what the song is about: the interconnectivity in all things and people. No one individual, but all one ever-changing, flowing stream.” - Jeff Ramuno, Jeffertitti’s Nile

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Inventions Band Interview: Matthew Cooper of Eluvium & Mark T. Smith of Explosions in the Sky

“The interesting thing about working together to me was how easily and swiftly it all came together… There was probably a build up of the excitement of working together and trying new things and allowing each other this room to go wherever we wanted, that it just blossomed forth and mutated in its own unfettered evolution.” - Matthew Cooper of Inventions & Eluvium

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Intuitive Navigation 2014 Recap: Swahili, Phone Call, Dual Mode, House of Aquarius

A big thanks to everyone who came out to Holocene for our second installment of Intuitive Navigation, an interdisciplinary night of sights and sounds, this time with a focus on DANCE! We paired every musical act with a visual artist and invited House of Aquarius to perform one-off dances in-between. Relive the night or see what you missed via this photo and video recap.

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Blues Music: Marketing Nostalgia Using “Race Records” in the 1920s & 1930s

Folklorists like to romanticize blues music as being a pure expression of culture, but recorded blues music was carefully marketed to its intended audience from its very beginning. As early as the 1920s, music aimed at African-Americans was labeled as “race music”, and the best way to advertise it was in the pages of African-American newspapers. These newspapers had a wide circulation among urban African-Americans and even in parts of the South, where they were treated as contraband and discretely shared.

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Dub Thompson – No Time Music Video (Interview w/ Director Vinyl Williams)

Drawing obvious inspiration from timelessness and less obvious inspiration from Aleister Crowley’s Thoth tarot deck, director Vinyl Williams takes Dub Thompson’s “No Time” and turns it into a multi-level philosophical exercise. Williams explores the slippery nature of existence by using both HD and analog techniques, which ebb, flow, and spin within a mad cycle, in such a way where beginnings and ends are indiscernable from one another. Timelessness, indeed. Read on as he speaks to his process and collaborating with the band.

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Music Festivals 2014 Preview Guide & Top Picks

Top picks for music festivals in 2014, with a focus on the Pacific Northwest festivals, New York City festivals, national music festivals, and transformational festivals that are worth a damn.

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Shy Girls – Voyeur’s Gaze Music Video w/ Director Tony Lowe & Bailey Stiles Interview

Talk about perfection in voyeurism! This music video for Shy Girls “Voyeur’s Gaze”, directed by Tony Lowe and featuring Chez Deep drag collective’s Bailey Stiles, is a one-take that’s all about the setting. Drawing inspiration from Russian webcam rooms, its aesthetic combines those cyber antics with the lives and times of many a boy-crazy teenage girl, to create a hazy wonderland full of stuffed animals and soft pastels. Read on, as Tony Lowe and Bailey Stiles give some words about self-love and empowerment.

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Liars Band Interview (2014) Brooding in Ecstasy With Mess’s Playful Catharsis

Liars’ 2012 full-length, WIXIW, dwelled in doubt and anxiety, pressed against a curtain of murky fragility. Even if one only looks at the cover art for the band’s latest follow-up, Mess — a robust mass of multihued string that looks like the Love Forever Changes hydra head grew dreadlocks — it’s evident that in 2014, the band is in a more positive, confident, and even silly headspace. Mess‘s stock in trade is industrial dance music — and although Liars’ beats are as primal as they’ve always been, their music is now a little too emotionally in-check to properly identify as synth-punk.

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