Big room British producer shares his 2nd single “Crystallise (feat. Lawrence Hart)” from his upcoming LP Fading Love on Domino Records.
I am always impressed by George’s very direct basslines, they always work soo well on the dancefloor and have this dryness to them that make them sound classic or like you’ve heard something similar to it in the past. Here he doesn’t have that it, its a rolling arp, a lot less heavy and more ethereal. Still gorgeous, the man has an ear for tasteful dance music, I hope he never goes anymore big room than this though.
Looking forward to renting this on Vimeo, even though its a tad bit long for a tour feature, i’m excited to see such a young label take on a doc this early in their creation.
In June 2012, four core acts from the house music label 100% Silk embarked on a lengthy group tour through Europe, UK and beyond. SILK is a chronicle of that experience with highly visual dance sequences featuring the L.A. Contemporary Dance Company.
Tony Zhou’s Every Frame a Painting is a video series dedicated to the ‘analysis of film form’. His episode on Nicolas Winding Refn’s use of the quadrant system in Drive was the first video that drew me in. Each episode does a great job breaking down and explaining the little details that are sometimes overlooked. It reminds me of the first time I discovered the hidden arrow and spoon within the FedEx logo. When you finally realize it’s there, you appreciate the art behind what we see in front of us that much more.
But it was an episode on Japanese film director and animator Satoshi Kon that got me really stoked. This was my first introduction to the world of Kon and his signature editing style. Inspired by George Roy’s Slaughterhouse-Five, Kon’s use of matching scene transitions has also inspired other filmmakers and their films – Inception and Scott Pilgrim vs. the World are two examples that immediately come to mind.
Before passing in 2010, Kon left us with one last gem – Ohayo. His final piece covers something we deal with every day; the dreaded morning wake up routine – illustrated in the most beautiful of ways.
Bored with your current Netflix subscription and tired of trying to find something you actually want to watch? Look no further because the Outliers Vol. 1 film has been fully released into the wild. A few years ago, a group of amazing creatives along with myself traveled to Iceland to create a beautiful documentary about Iceland. We teamed with musicians like Shigeto, Loscil, Eskmo, Son Lux, Heathered Pearls and Ryuichi Sakamoto to help us create a visual and sonic piece of art.
Head on over to the Outliers Vol. 1 website to watch the movie in its entirety in HD to bring some inspiration to your weekend.
And if you helped support this project on Kickstarter: THANK YOU!
“For years, I’ve imagined the work I do in music, photography, video/film, immersive audio and meditation all coming into one space,” says music-art guru Christopher Willits from his home in San Francisco. It’s an ambition that seems especially befitting of a worldly polymath like Willits. “Sound and light can transform and inspire our imaginations,” he continues. “It can be used as a tool to awaken our consciousness.” And that is exactly what he has set out to do with OPENING, the veteran Ghostly artist’s new immersive audio-visual project.
Across seven tracks of widescreen ambient music, 45 minutes of visuals shot over four years in multiple countries, seven photographs, and a multi-sensory, multiple channel live performance, Willits has created something which might better be thought of as an experience than a simple album. OPENING features Willits’ latest music since Ancient Future, his 2012 collaboration with Japanese pianist Ryuichi Sakamoto, and his recent production and mastering work on Tycho’s Awake. The vibrant, enveloping sounds we’ve come to expect from him are on full display. The quiet majesty of “Vision” ushers us into the sacred world Willits creates, a living universe that billows and heaves alongside slow-grooving songs like “Clear” and “Connect,” or with the textural minutiae and harmonic subtleties in “Ground” and “Now”. Closing out the album, “Wide” and “Release” offer the listener a gentle comedown through 15 minutes of transcendent audio, with Willits’ delicate guitar manipulations breathing life into the aether of finely textured atmospheres and soft-glowing synths.
The other integral facet to the experience of OPENING is Willits’ visual work. After building a library of images from his travels around California, Hawaii, Japan, and Thailand, Willits is unveiling an abstract narrative film, with seven scenes that correspond with the seven songs from the album along with seven limited edition photo prints. The 45-minute film interfuses music and a first-person perspective of meditative scenes—inspiring nature sections reminiscent of the films Baraka, Koyaanisqatsi and Planet Earth—to create the space of OPENING.
Willits says, “There are no actors or dialogue in this film. The audience and their perception is the main character, and everyone’s imagination is going to create some meaning that’s relevant to their own experience. My intention is to create a space where people can open up and expand into, relax and recharge.” OPENING is unlike anything Willits has accomplished before, perhaps because the audio-visual project is about expanding one’s mind to invite something new. Or, as Willits puts it, “For me, OPENING is about transformation, the experience of changing oneself to be more of who you know you can be, and, ultimately, the joy that comes with that change.”
Posting images of this piece sort of gives it away, so you’ve got to just hit play above and check it out. Excellent concept, cinematography, and edit. Check out more work from Russell Houghten and have a look at the prints he’s created from still frames on the Epic. Really well done.