O’Death – ROAM Music Video Premiere (w/ Q&A Interview)

“You’re just a tourist in this fleshy-hell-party.” - Gabe Darling, O’Death Member & “ROAM” Director

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Kiev Band Interview: Iconoclasm & Possibility in a Prescriptive World

“If you’re basing your career on likes and plays and how many hits a particular video has, it’s really impersonal. But when it’s that grassroots thing, you get so much more mileage out of looking someone in the eye and having them tell you, ‘Wow, this song did this for me’, or. ‘This album puts me in this mindset that I can’t get anywhere else.’ That kind of stuff gives us the chills and gives us the juju for the next year.” - Robert Brinkerhoff, Guitarist & Vocalist of Kiev

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MSHR Art & Music Collective Interview: Pathways In & Up

“Where we’re at right now, it doesn’t make sense for us to join a preexisting community or culture that has a set of rules or traditions. That can’t happen for us, but we want that — everyone wants that — and with this project, we’re creating our own sacred spaces and traditions. Pathways in. And up.” - Brenna Murphy, MSHR

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The Bug (Kevin Martin) Producer Interview: Exploring Duality on Angels & Devils

“The urge to reinvent myself is strong, and the big question after London Zoo was, ‘Do I want to break away totally from my past, and the albatross of the ‘dubstep’ label…?’ The more I thought about it, the more I realised I had the most respect for artists who had found their individual voice, and then managed to extend their sound thereafter as a craft to be bettered and mastered. I decided to fight my initial kneejerk reaction to destroy the blueprint of London Zoo and the media’s misconception of me and that album, and instead, made the decision to try and use London Zoo as a foundation to build outwards from, whilst still acknowledging [its] relationship to [dubstep].” - Kevin Martin, The Bug

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Multicultural Sounds: Warm Winds From Latin America & The Caribbean

>When it’s summer, I want to hear blisteringly hot dance numbers or mellow jams from the torrid regions of the world. I’ve based this mix on artists from Latin America and the Caribbean; some of it’s hot, some of it’s mellow, and all of it is good for letting your mind wander to somewhere a bit more exotic. Be warned: finding sources for some of these musicians in English can be a challenge. But that makes the hunt all the more enjoyable. Summer in the Northern Hemisphere ends on September 22nd, so warm yourself up with these jams one last time.

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MusicFestNW & Bumbershoot Festival 2014: Comparing & Contrasting Two Long-Running Pacific NW Festivals

Within a few weeks of one another, the Pacific Northwest finds itself graced annually with two significant events adhering to very different festival models: MusicFestNW and Bumbershoot Festival. Running since 1995 in Portland and 1971 in Seattle, respectively, both festivals have been known for catering to a wide and varied acts across a host of stages and venue locations. In late 2013, however, MusicFestNW announced that it would be approaching 2014′s festival a bit differently, foregoing its previous SXSW-esque multi-venue model in favor of a two-stage waterfront event. Bumbershoot, by contrast, has maintained its long-running model of utilizing the Seattle Center’s many venues to showcase interdisciplinary art. Both festivals have their huge differences in terms of history, infrastructure, funding models, and artistic goals — but considering the cornerstones that both festivals have been for their local communities and beyond, it seems only prudent to compare them a bit.

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Captured Tracks Record Label Feature: Keeping The Artist In Focus

“We’re a young company going about the music industry in what we think is the standard way, but it turns out we’ve been doing it pretty differently. There’s no ethos or philosophy, per se. We’re not looking for our label to be the topic of a release; we want the artist to be the focus. If exploiting whatever C/T is helps get a new artist’s music out in the world, than that’s great.” - Mike Sniper, Founder of Captured Tracks

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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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